Shraddha Kapoor, who trained for months under ace badminton player Saina Nehwal to pull off her character convincingly, has reportedly dropped out of the much-awaited film Saina. According to reports, Parineeti Chopra has replaced the actress in the sports biopic on Saina Nehwal.
Saina is a film that has been in news even before its official announcement. Earlier it was being reported that Deepika Padukone would play the title role in the movie. However, filmmaker Amole Gupte surprised everyone by announcing the name of Shraddha Kapoor as the female lead.
Then reports started coming out that Shraddha was finding it extremely difficult to learn the game, despite being trained by Saina Nehwal herself. She also suffered from dengue during the process.
The actress was expected to resume work on the project in April. However, since she had a number of other films on her platter including Street Dancer, Chhichhore, Saaho and Baaghi 3, she let go of Saina.
“Despite everyone’s best efforts to accommodate the Saina biopic, dates were clashing, so it made sense for Shraddha to opt out. The decision was taken by mutual consent. Meanwhile, Parineeti loved the script and will start prep soon,” a source revealed.
Producer Bhushan Kumar confirmed the news. “We want to wrap up Saina by this year-end for an early 2020 release, so going ahead with the project is a decision taken by mutual consent. We are glad Parineeti has come onboard for the film. Saina has made every Indian proud and we can’t wait to take her story to the world in the year of the Olympics,” he said.
Parineeti Chopra is ecstatic to have bagged such a plum project. “It’s a part of my personality, but as an actress, one that I have not explored so far. I’m delighted to get an opportunity to portray a strong and powerful girl like Saina who put our country on the world map. I am excited to put in all the training and hard work that comes with learning the game and portraying Saina on screen,” said the actress.
Chopra is presently looking forward to the release of her next Kesari, co-starring Akshay Kumar.
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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