According to reports, Yash Raj Films is planning to bankroll an out-and-out comic-caper under its banner and Uri: The Surgical Strike (2018) star Vicky Kaushal has been signed on to play the male lead in the yet to be titled project.
Now, news has it that YRF has finalized ex-Miss World Manushi Chhillar to star alongside Kaushal in the film. For the uninitiated, Chhillar is making her silver screen debut with Yash Raj Films’ much-awaited historical drama Prithviraj. Directed by Chandraprakash Dwivedi, the high-profile film features superstar Akshay Kumar in the titular role. The said comic-caper will mark her second collaboration with the leading production house.
Spilling some more beans on the forthcoming film, a source in the know informs an entertainment portal, “Vicky and Manushi are definitely in this YRF comedy, or else why would they start following each other out of the blue? Their film is part of the much-anticipated YRF Project 50 celebrations and Aditya Chopra is looking to announce this film, along with YRF’s entire slate for 2021, on September 27th. Vicky has been spotted at YRF too because he has started his preparations for the film. Adi is very bullish about this project and he is punting on Vicky big time with this comedy. We hear Manushi too will start preparations for this film soon.”
Filmmaker Vijay Krishna Acharya, who last helmed Aamir Khan and Amitabh Bachchan’s Thugs of Hindostan (2018), will reportedly call the shots for the untitled project. More details on the project are expected to arrive soon.
Meanwhile, Vicky Kaushal next stars in award-winning filmmaker Shoojit Sircar’s Sardar Udham Singh, which is a biopic based on the life of Indian revolutionary Udham Singh, best known for assassinating Michael O'Dwyer, the former lieutenant governor of Punjab in India, who was responsible for the Jallianwala Bagh massacre in Amritsar in 1919.
Keep visiting this space for more updates from the glitzy 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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