Most of us thought that Imtiaz Ali had named his next directorial venture Aaj Kal, but we were wrong. The acclaimed filmmaker, whose filmography includes several commercially and critically successful movies, is yet to finalize the title of his forthcoming film with Kartik Aaryan and newcomer Sara Ali Khan.
A couple of weeks ago, Imtiaz Ali had shared a post with a hashtag Aaj Kal. It led many film enthusiasts to assume that it could be the title of his next film, which is rumoured to be a sequel to his 2008 hit Love Aaj Kal, featuring Saif Ali Khan and Deepika Padukone in lead roles.
But now we hear that Aaj Kal was just a working title for the much-awaited flick and Imtiaz Ali planning to engage the audience to find a suitable title for his directorial. He is about to follow the same route to find the title which he did for his last film Jab Harry Met Sejal (2017). If you remember, Shah Rukh Khan had announced a reward of ₹ 5,000 for the person who suggested the right title for Jab Harry Met Sejal. It was actor Ranbir Kapoor who walked away with the prize money.
“There will be a contest of sorts maybe for the audience, or even within the film industry, for people who can suggest an apt title for the film. It will help create the right kind of buzz about the product, and people will feel a part of the movie if they suggest a title to it,” says a source from the film industry.
Meanwhile, the buzz around the film is great. The off-screen chemistry between Kartik Aaryan and Sara Ali Khan has created a lot of pre-release buzz for the movie. It will be interesting to see if the same translates into footfalls also.
The film is set to release on 14th February, 2020.
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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