Although theatres in India have opened their doors to the public, it will take months before normalcy returns and everyone starts going to movies in droves, without any fear of getting contracted the Coronavirus. Till that time arrives, streaming platforms are doing everything possible to keep audiences entertained by releasing new shows and movies at a regular interval.
After the success of Panchayat, Pataal Lok, Breathe: Into The Shadows, Bandish Bandits, and Mirzapur 2 during the Coronavirus-induced lockdown, Amazon Prime Video is set to drop yet another gripping web show for the Indian audience.
We are talking about filmmaker Ali Abbas Zafar’s much-awaited political drama Dilli, starring Saif Ali Khan in the lead role. While Zafar makes his digital debut with the upcoming show, Khan will return to the webspace again after Sacred Games Season 2. The actor has dubbed for his first Amazon Prime show from his home amid the pandemic.
If fresh reports are to be believed, the makers of Dilli are set to release the political drama on the streaming media platform in January 2021. The official premiere date is yet to be announced though.
In Dilli, Saif Ali Khan plays a politician who aspires to become the Prime Minister of India. Comparing the show to American thriller series House Of Cards, the National award-winning actor had earlier said, “It is a show based on politics and is set on a massive scale. I do not want to use American examples, but it is along the lines of House Of Cards, although set within the framework of Indian politics. The plot takes into account various factions like Dalit politics and UP cops and the whole nexus between them.”
About his character in the ten-episode series, he said, “My character is Chanakya-like, in the guise of a youth leader who comes from a privileged background and aspires to become the Prime Minister.”
In addition to Saif Ali Khan, Dilli also features Sarah-Jane Dias, Purab Kohli, Kritika Kamra, Sunil Grover, Dimple Kapadia, Mohammed Zeeshan Ayyub, and Amyra Dastur on its ensemble cast.
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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