Janhvi Kapoor left everyone stunned with a powerful performance in her debut film Dhadak (2018). Also starring newcomer Ishaan Khatter in the lead role, the tragic love story was an official adaptation of filmmaker Nagraj Manjule’s Marathi blockbuster Sairat (2016). Dhadak emerged as one of the highest-grossing films of 2018 and proved that Janhvi Kapoor has a long way to go in the Indian film industry.
Janhvi, who is the elder daughter of late legendary actress Sridevi and filmmaker Boney Kapoor, has signed several films after the release of Dhadak. She is currently shooting for Maddock Films’ horror-comedy Roohi-Afza with Rajkummar Rao. Aside from Roohi-Afza, she has also signed three high-profile films with Karan Johar’s Dharma Productions, including Takht, Kargil Girl and Dostana 2.
Janhvi Kapoor has a huge fan following down South also, thanks to her mother Sridevi who ruled the South Indian film industry for many decades. Sridevi and Janhvi Kapoor’s fans are eager to see the latter doing films in the South. It looks like God has granted their wish as some source informs to an Indian daily that the newcomer has signed a film down South.
According to a report, Janhvi Kapoor has signed her debut Telugu film and she will romance heartthrob Vijay Deverakonda in it. To be directed by well-known South Indian filmmaker Puri Jagannadh, the yet-to-be-titled film has Vijay and Janhvi playing the lead roles. The film is expected to mount the shooting floor in the coming months.
Apart from helming the project, Puri Jagannadh will also co-produce it in association with Charmme Kaur under the banners of Puri Jagannadh Touring Talkies and Puri Connects. While Puri and Charmme have confirmed collaboration with Vijay, Janhvi Kapoor’s presence in the film is yet to be confirmed.
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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