There is no denying the fact that Coronavirus brought the entire world to its knees. All institutions and establishments across the globe remained shuttered for months in order to prevent the spread of the pandemic.
But there were some people who continued to work throughout the lockdown, if not completely, then at least partially. One of those lucky people is filmmaker Nikkhil Advani, who is known for successful films like Batla House (2019), D-Day (2013), and Kal Ho Na Ho (2003). Not just the filmmaker himself, his team as well as his production house, Emmay Entertainment, has also been functioning for weeks now.
“We have been continuously working, for weeks now. And I am happy that we continued to function throughout, as it kept me as well as my team in great spirits. As I always maintained, for how long anyone could have locked themselves at home? In fact, my office, too, has been continuously open, with my team constantly working from there,” says Advani.
The filmmaker currently has several projects at various stages of development. While a cross-border love story from his production house resumed shooting last week, his co-production Bell Bottom is being shot in Scotland. Recce for Satyamev Jayate 2 has also begun in Lucknow.
“Milap (Zaveri) recently went to Lucknow for recce of Satyameva Jayate 2, so that will start soon. Then, we have a show with Naseeruddin Shah and then, the other series on Mughals is slated to start soon with Shabanaji (Azmi),” the filmmaker informs.
Apart from bankrolling several films and web shows under Emmay Entertainment, Nikkhil Advani is also working on his next directorial offering Gorkha, starring John Abraham in the title role. Indoo Ki Jawani, one of his upcoming production outings, is currently at the editing table.
Keep visiting this space for more updates 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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