Ever since making her silver screen debut with the Pradeep Sarkar-directed Parineeta in 2005, Vidya Balan has starred in several critically and commercially successful films and won numerous awards and accolades. But if we talk about that one film which garnered her utmost appreciation from critics and audiences alike, it has to be the 2012 mystery thriller Kahaani, helmed by ace filmmaker Sujoy Ghosh.
Kahaani, set in Kolkata, is regarded as one of the most successful women-led films ever made in Bollywood. The widespread success of the movie led director Sujoy Ghosh to come up with a sequel which hit the marquee in the year 2016 and became a sleeper hit at the box-office.
Now, after three years of Kahaani 2, the news is coming in that a prequel to the franchise is in the works. Abhishek Bachchan, who was last seen in Manmarziyan (2018), is reported to have bagged a grey role in the project. There is no update on whether or not Vidya Balan will be a part of the prequel. But given that the National Film Award-winning actress delivered powerful performances in the previous two movies, fans will definitely want to see her in the prequel.
We have also learnt that Sujoy Ghosh, who helmed the previous two instalments of the franchise, will not direct the prequel. Instead, her daughter Diya Ghosh will take the directorial mantle in her hand. The Kahaani prequel will mark her feature film debut. She has previously helmed a short film Neighbourhood Ties which was selected to be screened at the Cannes Film Festival and received appreciation from every quarter. According to reports, the Kahaani prequel is expected to start rolling next year.
More details on the project are expected to arrive soon. Keep visiting this space.
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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