Milap Zaveri’s Marjaavaan stars Sidharth Malhotra, Rakul Preet Singh, Riteish Deshmukh and Tara Sutaria in the lead roles. The shooting of the film has been wrapped up, but it was recently when the team shot for a special song. The makers have roped in Nushrat Bharucha to shake a leg with Sidharth in the track.
Talking about it, Nushrat told a tabloid, “The film entered my orbit several times. I’d constantly hear about Marjaavaan at events and parties. At one such gathering, I was randomly told about this song they were doing and told that they were scouting around for a girl. Sid suggested that I do it and everyone was surprised when I agreed instantly. I guess I was destined to be a part of the film.”
Titled Peeyu Datke, the song is composed and sung by Yo Yo Honey Singh and it is inspired by a Rajasthani folk song. The actress said, “It’s a party track with a desi vibe but also an underground feel which makes for an interesting contrast. For the first two days we shot on a mill set, and today we are shooting outdoors. Mudassar’s (Khan) choreography is fab and I’m having a blast."
Nushrat is all praises for her co-star Sidharth. She said, “He is a gentleman, one of the nicest guys in the industry. On Wednesday, during the shoot, I was stressed out about something and he kept telling me to relax.” This is for the first time we will get to see Nushrat and Sidharth on the big screen together.
While in Marjaavaan, Nushrat just has a song as a lead we will get to see her in movies like Hurdang, Dream Girl and Turram Khan.
Marjaavaan is slated to release on 2nd October 2019. In the movie, Riteish will be seen as a dwarf. The film will be clashing with YRF’s next which stars Hrithik Roshan and Tiger Shroff in the lead roles. The makers are yet to reveal the title of the film.
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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