In 2020, we were supposed to watch many hit jodis on the big screen again. But, the pandemic played the spoilsport and that didn’t happen.
Now, most of the movies have been postponed to 2021. So, here’s a list of hit jodis that we will get to see on the big screen this year after a long gap…
Akshay Kumar and Katrina Kaif will be seen together on the big screen in Rohit Shetty’s Sooryavanshi. The movie was slated to release in 2020, but it will now hit the big screens this year, and reportedly it might release during Holi festival.
Saif Ali Khan and Rani Mukerji were last seen together in 2008 release Thoda Pyaar Thoda Magic. Now, after 13 years, we will get to see them on the big screen in Bunty Aur Babli 2. Moviegoers are surely excited to watch them on the big screen together.
Aamir Khan and Kareena Kapoor Khan starrer Laal Singh Chaddha was slated to release on Christmas 2020. But now it will hit the big screens on Christmas 2021. We will get to see Aamir and Kareena on the big screen after a gap of nine years.
Ranveer and Deepika’s last film together was Padmaavat. But they were not paired opposite each other and they didn’t get a chance to share screen space in the film. Now, this year, the two will be seen opposite each other in 83.
Arjun Kapoor and Parineeti Chopra have starred together in Ishaqzaade and Namaste England. While the former was a hit, the latter failed to make a mark at the box office. The two will be seen on the big screen together for the third time in Sandeep Aur Pinky Faraar. After a lot of delays, the movie was supposed to release in March 2020, but got postponed due to the pandemic. Let’s hope that it releases this year.
Shah Rukh Khan – Deepika Padukone
Shah Rukh Khan and Deepika Padukone were last seen together in the 2014 release Happy New Year. Now, after seven years, we will get to see them in YRF’s Pathan. While the makers have not yet officially announced the release date, reportedly, the movie will hit the big screens on Diwali 2021.
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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