With theatres still waiting to see audiences visiting them in droves, a number of filmmakers are heading to streaming media platforms to release their films, forgoing a theatrical release. The sudden spike in Coronavirus cases in India has set off alarm bells among filmmakers.
The latest we hear that filmmaker Rakeysh Omprakash Mehra’s next directorial Toofan, which stars Farhan Akhtar in the lead role, will be skipping a theatrical release in favour of a premium direct-to-digital debut on leading streaming service Amazon Prime Video.
Spilling some more beans, a source in the know told an entertainment portal, “Toofan was initially expected to release in September 2020. However, with the lockdown in effect, the film’s release was put on hold indefinitely. Though it comes as a surprise that the director Rakesh Omprakash Mehra and producers opted for a direct to OTT release rather than a conventional theatrical release, it is now certain that Toofan will premiere directly on Amazon Prime Video.”
When asked about the reason behind the makers deciding against a theatrical release, the source added, “Currently, theatres are just opening up, and it will be a while before they and their business return to normal. Releasing a film in an uncertain atmosphere like this is detrimental to business. But on the other hand, opting for a direct to OTT release, a filmmaker is assured of a certain sum that will cover his initial expense. Given this situation, it is obvious why filmmakers still prefer to release their films on OTT platforms over theatres.”
Toofan reunites Farhan Akhtar with Om Prakash Mehra after Bhaag Milkha Bhaag (2013). The actor plays the role of a boxer in the upcoming film. Mrunal Thakur and Paresh Rawal also essay important characters. Amazon Prime Video is yet to announce lock the official date for the release of the film.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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