Kriti Sanon and Rajkummar Rao, who won millions of hearts with their endearing performances in Ashwiny Iyer Tiwari’s Bareilly Ki Barfi (2017), recently united to headline yet another comedy film titled Hum Do Humare Do.
The film revolves around a young couple who decides to adopt two parents to fill the vacuum in their lives. Seasoned actors Paresh Rawal and Ratna Pathak Shah play the adoptive parents in the film. The latest we hear is that the film is ready to release. It is reportedly headed to Disney+ Hotstar for its direct-to-digital premiere, bypassing theatrical release.
A well-placed source informs an entertainment portal that the makers of Hum Do Humare Do took the decision of releasing their film on a streaming platform after seeing the dismal performance of the films which were recently released in cinemas.
“Audiences are not yet ready to visit in cinemas. Films that have been released in theatres such as Bell Bottom, Chehre, and Thalaivi could not even recover their costs. Their performance has not been encouraging and this has set a record straight that it is suicidal to release a film in theatres until and unless cinemas in Maharashtra open which does not seem possible anytime soon. All this has left the producers with no option but to release their ready films on digital platforms. Dinesh Vijan is just following the suit because he cannot keep on waiting any longer,” says the source.
Directed by Abhishek Jain, Hum Do Humare Do also features Aparshakti Khurana in an important role. The film marks Kriti Sanon’s fifth collaboration with producer Dinesh Vijan after Raabta (2017), Arjun Patiala (2019), Luka Chuppi (2019), and the recently released dramedy Mimi (2021), which turned out to be a massive success on Netflix.
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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