The first song 'Issa vibe' from Shahid Kapoor's upcoming action thriller Bloody Daddy is out. Makers on Tuesday unveiled the song.
Actor Shahid Kapoor shared the song video on his Instagram stories and wrote, "Issa Vibe. out now. #BloodyDaddy."
Composed and written by rapper Badshah, the song is beautifully sung by Payal Dev and the rapper.
The mesmerizing visuals and melody of the song are absolutely captivating. The song beautifully showcased the energetic moves of Badshah and some glimpses from the movie.
Shot in the club, the song is truly a dance song to groove on.
The netizens chimed in the comment section as soon as the song was released.
Helmed by the acclaimed filmmaker Ali Abbas Zafar the film is all set to stream on the streaming platform JioCinema from June 9. It features Shahid Kapoor, Sanjay Kapoor, Diana Penty, Ronit Roy, Rajeev Khandelwal, Ankur Bhatia and Vivan Bhatena.
On 24th May, the makers of the film unveiled the much-awaited trailer of the film which received massive responses from the fans. The teaser showcases the 'Jersey' actor in a rugged avatar. He is seen in intense action look by fighting multiple goons in a hotel. The video also gave a glimpse of Sanjay Kapoor, Ronit Roy, and Diana Penty.
Meanwhile, Shahid was last seen in the web series Farzi alongside Kay Kay Menon and Vijay Sethupathi. Helmed by the director duo Raj and DK, the series streamed on the streaming platform Amazon Prime Video and received massive responses from the fans.
He will be next seen in Maddock Films' next untitled romantic comedy film opposite actor Kriti Sanon
Written and directed by Amit Joshi and Aradhana Sah, the film also stars veteran actor Dharmendra in pivotal roles and will hit the theatres in October 2023.
The yet-to-be-titled film marks Shahid and Kriti's first on-screen collaboration.
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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