Dharma Productions on Friday evening announced in a tweet that actor Kartik Aaryan, who had been cast to play the male lead in one of their much-awaited ventures Dostana 2, has been dropped and is not associated with the film anymore. The official announcement comes after media reports flooded the internet that the actor was ousted from the project due to his unprofessional behaviour.
Dostana 2, which is the sequel to Dharma Productions’ much-loved comic-caper Dostana (2008), was officially announced in 2019 but its shoot kept getting delayed due to the ongoing coronavirus pandemic. The film also stars Janhvi Kapoor and debutant Laksh in lead roles.
The reason stated behind the firing is a fallout between Karan Johar and the actor. Along with the creative differences, it has also been reported that Janhvi Kapoor and Aaryan have had a fallout too.
Once Bollywood resumed production after several months of the coronavirus-induced lockdown in 2020, Aaryan said that he did not have dates to restart the film’s shoot. Later on, the actor started having creative issues with the makers.
Reports suggest that Kartik Aaryan has been shown the exit door for dilly-dallying the shoot for months now. He decided to prioritise Ram Madhvani's Dhamaka and that did not go down well with Karan Johar.
“For the longest time, Kartik gave a genuine reason of the Covid-19 pandemic to not start the shoot. He wanted to ensure safety so Karan did not push him much. But when he shot for Dhamaka, Karan was upset. They had an indoor meeting where Karan expressed his disappointment,” a source informed a publication.
The source goes on to add, “Kartik got upset with the banner when they gave Shashank Khaitan's Yoddha to Shahid Kapoor. Although Shahid soon quit, they never approached Kartik for the role anyway. Also, since Kartik’s dates were not available for Dostana 2, Karan decided to go ahead and start Mr. Lele with Vicky Kaushal and Janhvi Kapoor from April. The moment Kartik got to know about this development, he informed the production house that the only dates available for Dostana 2 this year will be April onwards. Karan understood what Kartik was doing and quickly reprimanded him for the same. He was genuinely upset with Kartik as Janhvi had to pick between Dostana 2 and Mr. Lele. The last we heard, Karan and Kartik are not speaking a word to each other."
Another source tells the publication, “The reason for Kartik Aaryan to not continue with the film as stated by him is the creative differences after one and a half years and completing over 20 days of the shoot. This has never happened in the history of Dharma where an actor has walked out of the film for creative issues. Dharma has decided not to work with him in the future.”
Stay tuned to Eastern Eye 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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