If you are planning to watch the Prabhas and Shraddha Kapoor starrer Saaho this weekend, it is highly advisable for you to start saving up from now. According to reports, the ticket rates for the hugely anticipated action entertainer are going to be as high as the fireworks. Theatres across India are set to charge at least a third more than the normal price, as per media reports.
“We have been given instructions to charge the blockbuster rates for Saaho, the same as the Salman Khan-starrer Bharat. But it’s only for the first three days from release,” reveals Bihar distributor Kishan Damani.
Saaho is made on a massive budget of over ₹ 300 crores. The makers will try to recover as much money as possible in the first few days of the film’s release. So it should not come as a surprise if you are asked to shell out more at the ticket counter.
Talking about the sudden hike in rates, trade analyst Girish Johar says, “Increase of ticket pricing is a joint call of the producer, distributor and exhibitor for a particular film, with the onus of it lying with the producer, distributor. Now for Saaho, if they feel that the excitement levels are very high and audiences are super-excited to see the film that they will be willing to pay much higher prices than the normal, it is their business decision.”
Girish, however, does mention that the trend is not fair from the consumers’ point of view. “Audiences may feel the pinch, but then it all boils down to content. It’s a very thin line to tread. If they feel satisfied then they would not complain, but if they are not then it backfires. If the content is disappointing then they shun it vehemently, especially when the ticket rates are hiked. This makes the collections fall faster, which is not good. So the makers opt for higher pricing only if they are pretty much confident of their offering to the audiences. Saaho is a mega film with huge budgets and investments, so naturally the expectations are mammoth,” he signs off.
Directed by Sujeeth, Saaho is set to enter theatres on 30th August.
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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