As the second wave of coronavirus rages on in India, several Bollywood celebrities have contracted the virus over the past few days. The latest B-town star to be tested positive for coronavirus is none other than Katrina Kaif.
Kaif, who was last seen in Bharat (2019), took to her Instagram handle to confirm the news about her Covid-19 diagnosis. She also urged everyone who had come in contact with her in recent days to also get tested at the earliest.
“I have tested positive for Covid-19. Have immediately isolated myself and will be under home quarantine. I am following all safety protocols under the advice of my doctors. Requesting everyone who came in contact with me to get tested immediately too. Grateful for all your love and support. Please stay safe and take care,” read her post.
Over the past few days, Akshay Kumar, Vicky Kaushal and Bhumi Pednekar have also confirmed their positive diagnosis. Kumar on Monday informed via a tweet that he had been hospitalised as a precautionary measure.
On the work front, Katrina Kaif is awaiting the release of her much-awaited film Sooryavanshi. Co-starring Akshay Kumar, the Rohit Shetty directorial was originally scheduled to hit theatres on March 24, 2020. However, as India went into a complete lockdown in March last year, the makers stalled its release.
After waiting for almost a year, the team recently announced that the film will release on April 30, 2021. But since the number of coronavirus cases in India is currently at an all-time high, the makers have pushed its releases indefinitely.
Kaif has also been shooting for Excel Entertainment’s horror-comedy Phone Bhoot and Yash Raj Films’ Tiger 3 for some time now. She is also set to headline filmmaker Ali Abbas Zafar’s superwoman film franchise for Netflix.
Keep visiting this space over and again for more update 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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