2019 did not turn out to be a great year for Dharma Productions. Apart from Good Newwz and Kesari, both featuring superstar Akshay Kumar in lead roles, none of their offerings set the cash registers jingling at the box-office.
Kalank, a multi-starrer made on a huge scale, tanked at the box-office, incurring a massive loss to the production house. Their next release, Student of the Year 2, was expected to hit a century since Student of the Year had racked up a lifetime collection of Rs. 70 crores in 2012, but it could not even touch the mark set by its predecessor. The much-delayed actioner Drive released directly on Netflix and was panned by one and all.
After the failure of the aforementioned projects, Dharma Productions’ head honcho, Karan Johar, has reportedly retreated into introspection. The filmmaker is not only scrapping commercially unviable projects, but he is also cutting down the budget of his most ambitious directorial venture Takht. “From scrapping commercially uncertain projects to cutting down the budget of his ambitious directorial Takht, Karan Johar is considering all of that,” a source in the know tells an entertainment portal.
The production house has also decided to cut down the budget of its costliest production venture Brahmastra. Featuring Ranbir Kapoor, Alia Bhatt and Amitabh Bachchan in lead roles, the fantasy drama has already faced an inordinate delay in production and hence the makers have decided to tighten its budget.
“Ayan has been over-shooting Brahmastra. The film is taking longer to complete than any other previous Dharma Production. Costly stars like Amitabh Bachchan, Nagarjuna, Ranbir Kapoor and Alia Bhatt, all of whom have been paid their market price, are apparently charging extra for all the additional dates needed to complete Brahmastra,” adds the source.
Well, it will be interesting to see if getting along on a shoestring succeeds in getting the production house back on their feet. Talking about their forthcoming ventures for 2020, the slate includes films like Bhoot – Part One: The Haunted Ship, Gunjan Saxena: The Kargil Girl, Sooryavanshi, Brahmastra, Shershaah and Dostana 2.
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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