Mrunal Thakur, who rose to prominence after delivering memorable performances in such box-office hits as Super 30 (2019) and Batla House (2019), has joined hands with renowned singer Guru Randhawa for an upcoming music video, titled Abhi Na Chhodo Mujhe.
On Tuesday, Thakur started shooting for the music video in Kashmir. Guru Randhawa also features in the video alongside her. The makers wanted to shoot the song against a dreamy, snowy backdrop and hence, they decided to film it in the picturesque Kashmir valley. Thakur, who has mostly portrayed non-glamorous characters in movies, will be seen donning a glamorous avatar for the song.
Spilling some more beans on the forthcoming track, a source close to the team had previously revealed, “The final track is in the process of mixing. Mrunal has been approached for the video to be shot over two days at an exotic location. The video will feature her in an ultra-glamorous look which she has not donned for the silver screen yet. Known to have a keen eye for fashion, the actress in recent times has walked the ramp for notable fashion designers. It will star her in a bold look, upping the sizzle and oomph of the video itself.”
On the film front, Thakur has her platter full with a number of high-profile films. She recently wrapped up her much-awaited film Jersey, which sees her opposite Shahid Kapoor. The sports drama is an official remake of a blockbuster Telugu film of the same name.
Right after Jersey, she will be seen romancing Farhan Akhtar in celebrated filmmaker Rakeysh Omprakash Mehra’s Toofan. The team is expected to wrap up the shoot soon. She also has comic-caper Aankh Micholi in her kitty. The film co-stars Abhimanyu Dasani. Recently, Thakur also signed RSVP Movies’ war-drama Pippa, co-starring Ishaan Khatter and Priyanshu Painyuli.
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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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