Multiple award-winning Bollywood actor Manoj Bajpayee has tested positive for Covid-19, his team confirms. The actor is currently in quarantine at home.
Bajpayee had been shooting for his upcoming film Dispatch for over a month now. But with him contracting the Coronavirus, the shoot of the investigative thriller has now come to a halt.
In a statement, his team said, “Manoj Bajpayee has tested Covid positive after his director was infected with it. The shoot has stopped and will resume in a couple of months. Manoj Bajpayee is on medication and recovering well. He is in self-quarantine at home and following all precautions.”
Directed by Kanu Behl, Dispatch went on floors on January 6. The thriller tells the story of what goes in the underbelly of crime journalism. Well-known filmmaker Ronnie Screwvala is bankrolling the project under his banner of RSVP Movies. Set to be shot in London, Delhi, and Mumbai, Dispatch will have a direct-to-digital release on a streaming media platform.
Talking about the film, Bajpayee had earlier said, “As an actor, I want to be part of stories that I want to tell and that deserve to be told. Despatch is one such film. With the digital age, our stories can now reach and be accessed by viewers across the globe, and I am confident this film will have many takers because it is relevant to our times. I am looking forward to collaborating with Kanu Behl who is well versed with the changing times and has total control on his craft of storytelling.”
Bajpayee is also waiting for the premiere of his much-awaited streaming show The Family Man 2. It was originally slated to arrive in the first quarter of 2021 on Amazon Prime Video, but the makers have now pushed it to the second half of the year. The team is yet to lock date for its premiere.
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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