John Abraham and Akshay Kumar have starred together in a couple of successful films and their friendship goes back a long way. They first teamed up for Garam Masala (2005) and the film turned out to be a runaway hit at the box-office. They joined hands again for Desi Boys (2011) followed by Housefull 2 (2012). Both films emerged as box-office hits and still attract huge viewership on their television premieres.
However, it has been almost eight years since the audience has not seen them in a film together. Things seem to have changed a lot over time. Now instead of starring together in a film, both actors arrive at the box-office with their respective movies at the same time. On 15th August 2018, Akshay Kumar and John Abraham locked horn by releasing Gold and Satyamev Jayate respectively. History is set to repeat itself again as Independence Day 2019 is going to witness yet another clash between Kumar’s Mission Mangal and Abraham’s Batla House.
Today, John launched the trailer of his film Batla House. And when he was asked about clashing with good friend Akshay Kumar once again, he said "Make some noise for Desi Boys. Honestly, I would have loved to create a controversy but Akshay and I are very dear friends. We really get along. In fact, we messaged each other the day after yesterday. There is absolutely nothing. We are just releasing two films on the same date. There is enough space. We are giving a lot of choices to choose to the audience from good films. I can say my film is very good. At least, one choice audience has in head that my film is a good film. I hope the other two films are also very good. But August 15 is a great day."
Aside from Batla House and Mission Mangal, Baahubali star Prabhas’ much-awaited biggie Saaho is also releasing on 15th August. Set to hit screens in Tamil, Telugu and Hindi, the Sujeeth directorial also stars Shraddha Kapoor in the lead role.
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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