Directed by acclaimed filmmaker Sanjay Leela Bhansali, Gangubai Kathiawadi, featuring Alia Bhatt in the lead role, is one of the hugely anticipated films of 2022. After suffering a slew of setbacks due to the coronavirus pandemic, the period drama is finally set to enter cinemas on February 25, 2022.
Recently, the makers dropped the theatrical trailer of Gangubai Kathiawadi which received an overwhelming response from the audience. Now, everyone is waiting for the theatrical release of the film to see what magic Bhansali has created with Bhatt and his team.
But before the film arrives in theatres, it will have a grand premiere at the 72nd Berlin International Film Festival. The prestigious festival is set to be held between February 10 to February 20, 2022, and the premiere of Gangubai Kathiawadi will take place on February 16. Sanjay Leela Bhansali, Alia Bhatt, and several other team members will be in attendance at the premiere.
According to reports, two screenings of the film will take place on 16th February, one at CinemaxX 9 theatre at 7:00 pm (Central European Standard Time) and the other at the gigantic Friedrichstadt-Palast auditorium at 9:00 pm. The world premiere will be held at either of the screenings.
The film will have three more shows – on February 17 at Urania at 9:00 pm, on February 19 at 8:30 pm at the International cinema, and on February 20 at 11:30 am at Cineplex Titania. The film is reportedly 152 minutes long.
While this is Sanjay Leela Bhansali's first ever film to premiere at the prestigious Berlin International Film Festival, Alia Bhatt has already seen the premiere of Highway (2014) in the Panorama section of the 64th Berlin International Film Festival and Gully Boy (2019).
Made under the banners of Bhansali Productions and Pen India Limited, Gangubai Kathiawadi is due in cinemas on February 25, 2022.
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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