Fatima Sana Shaikh, who shot to overnight fame with Aamir Khan’s blockbuster biographical sports-drama Dangal (2016), is thrilled about her forthcoming film Suraj Pe Mangal Bhari. The trailer, which released on YouTube a couple of days ago, has amassed a mixed response from the audience.
Revealing what led her to sign Suraj Pe Mangal Bhari, Sheikh says that she said yes to the film because she wanted to work with actors Manoj Bajpayee and Diljit Dosanjh and director Abhishek Sharma.
“When I heard the script, I was blown up by the cast. I signed the film as I wanted to work with Manoj sir, Diljit, and director Abhishek Sharma. Working with the talented Manoj sir was quite enriching. I was quite nervous about performing in front of him but he made me quite comfortable. Doing a situational comedy was a first for me, so while acting, I learned my strengths and weaknesses,” says the actress.
Suraj Pe Mangal Bhari is set to be one of the first few films to hit screens after cinemas shuttered in March in response to the Coronavirus pandemic. With the cases of Covid-19 still on the rise, the films opting for a theatrical release might not attract the same amount of audience as they did before the pandemic hit everyone hard. The actress, however, seems perturbed by it.
“I try not to think about these things. I am focusing on the fact that two of my films will release soon. Pandemic and Corona are the new normal and we have to live with it. Who knew we would be stuck at home for a year in 2020? Since the pandemic, my approach to life has changed. I have become more positive. So, I hope for the best, and like every day, we are surviving the pandemic, so we will the smaller things like these (box-office),” she adds.
Produced by Shariq Patel and Subhash Chandra, Suraj Pe Mangal Bhari is slated to enter theatres on 13th November, coinciding with the festival of Diwali.
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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