On February 25, filmmaker Alaukik Desai announced a mythological magnum-opus, titled Sita: The Incarnation. Acclaimed screenwriter KV Vijayendra Prasad, who is known for writing such all-time blockbusters as Baahubali: The Beginning (2015), Bajrangi Bhaijaan (2015), and Baahubali: The Conclusion (2017), is set to write the upcoming multilingual film.
As far as the casting is concerned, we hear that the makers have two actresses in mind, but they are keen to get Kareena Kapoor Khan onboard to play the title character of Sita in the big-ticket venture. Interestingly, two other projects based on the Indian epic of Ramayana are in the works in Bollywood, titled Adipurush and Ramayana 3D.
Sharing casting details, a source in the know informs a publication, “Alaukik and Vijayendra Prasad both feel Kareena will be apt for the role. Their Ramayana is from Sita's perspective, which also makes it very different from the other two projects that are in the pipeline. Alia Bhatt is also being considered but it is Kareena who the makers have first spoken to.”
The source goes on to add, “Bebo has loved the idea and since she has the titular role, she will have the majority of the screen space, unlike Adipurush and Ramayana 3D where the men dominate the frames. Kareena's team is now figuring out dates and remuneration for the same. Once the modalities are worked out, a formal announcement will be made. In case, it doesn't work out with Kareena, then Alia is their second pick for the period saga.”
Bankrolled by Human Being Studio Production, Sita: The Incarnation will release in five popular Indian languages, Hindi, Tamil, Telugu, Malayalam, and Kannada. It is touted to take the audience on a breathtaking VFX-based journey of India’s mythological magnum-opus. Manoj Muntashir will write dialogues and lyrics.
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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