Bollywood actor John Abraham has reportedly obtained the franchise rights to his successful film Force and is planning to roll Force 3 soon.
Producer Vipul Amrutlal Shah, who produced Force (2011) and Force 2 (2016) under his banner Sunshine Pictures Pvt. Ltd., has transferred the franchise rights to Abraham.
“John Abraham has acquired all the rights to the Force franchise from Vipul Shah and is all gearing up to take things to the next level on the action front. The actor is on a mission to lock a story that does justice to the kind of action spectacle he wishes to create in the universe of Force. Once the script is locked, his team will proceed to other aspects of pre-production,” a well-placed source informs an Indian publication.
Confirming the development, Shah wrote on social media, “Congratulations and all the best to John. It is a very special brand and we wish he takes it to great heights. It has been a pleasure making both Force installments as a superhit franchise with John.”
Meanwhile, John Abraham has a string of much-anticipated films on his platter. He will next be seen in his home production Attack, co-starring Jacqueline Fernandez and Rakul Preet Singh. Directed by debutant filmmaker Lakshya Raj Anand, the actioner is slated to release on April 1, 2022.
His second release in 2020 will be Mohit Suri’s Ek Villain Returns. The film is a sequel to the 2014 musical hit Ek Villain and also features Tara Sutaria, Disha Patani, and Arjun Kapoor on the primary cast. It releases on July 8, 2022.
The actor also stars in Yash Raj Films’ much-awaited action thriller Pathan. Directed by Siddharth Anand, the film also has Shah Rukh Khan and Deepika Padukone. It is expected to find its way into cinemas in the second half of the year.
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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