When rumours first emerged about a possible Hindi remake of the blockbuster Telugu film Ala Vaikunthapurramuloo (2020) being in the works, several media outlets reported that Ekta Kapoor was set to bankroll the project under Balaji Motion Pictures, which later turned out to be true.
Kartik Aaryan, who recently completed shooting for Kapoor’s next production venture Freddy, will begin filming for the remake soon. The Hindi version, which has been titled Shehzada, features Aaryan in the same role that Allu Arjun essayed in the original. Later, Kriti Sanon also joined the cast to step into the shoes of Pooja Hegde.
As the film gears up for production in a couple of days, an interesting update has emerged. A leading publication reports that Ekta Kapoor is no longer associated with the remake as a producer. The film is now being bankrolled by Allu Arvind, Aman Gill and S Radhe Krishna. Yes, you read that absolutely right!
A source close to the development informs the publication, “While Ekta Kapoor was initially involved in the project, she is no longer a part of it. The film is now produced by Allu Arvind, Aman Gill and S Radhe Krishna.”
The source further adds, “There were some contractual issues due to which Ekta had to back out of the project. There is no bad blood, but just the paperwork which has resulted in her opting out.”
In addition to Kartik Aaryan and Kriti Sanon, Shehzada also features Paresh Rawal and Manisha Koirala in significant roles. Pritam has come onboard to score music for the film. From what we hear is the team is set to take the film on floors in Mumbai on October 12. This would be followed by another schedule in Delhi. If all goes well, the film will enter theatres next year in 2022.
Keep visiting this space over and again for more updates and reveals from the world of entertainment.
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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