After months of speculations, Yash Raj Films has finally announced the female lead of their much-awaited historical drama Prithviraj, featuring superstar Akshay Kumar in the title role. Manushi Chhillar, who shot to instant fame after winning the prestigious Miss World crown in 2017, has been roped in to play the female lead opposite Khiladi Kumar in the big-ticket movie.
To be directed by well-known filmmaker Chandraprakash Dwivedi, Prithviraj has begun production, and Manushi Chhillar started shooting for the film today on 18th November. Coincidently, 18th November is the same date when she was crowned Miss World exactly two years ago.
Calling it a beautiful coincidence, Manushi said to a newswire, "It is really a beautiful coincidence that I gave my first shot for Prithviraj on the same day that I had won Miss World two years back. November 18 is definitely one of the most special days of my life and I'm thrilled that two of my life's biggest milestones fall on the same day. Giving the first shot for my debut film was simply surreal.”
The newcomer goes on to add that she is ready to prove herself as an actor. "I know I have a lot of hard work to do to prove myself as an actor and I am prepared to do just that. I wish the universe showers the film and me with tons of good luck."
For the unversed, the Chandraprakash Dwivedi directorial Prithviraj is based on the life and valour of Rajput king Prithviraj Chauhan who repulsed the early invasions by Muhammad of Ghor, a ruler of the Muslim Ghurid dynasty. Superstar Akshay Kumar plays the title role in the film, while Manushi has been signed to essay the role of Sanyogita, the love of his life.
Made under the banner of Yash Raj Films, Prithviraj is scheduled to release on Diwali 2020.
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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