Actress Parineeti Chopra, who was most recently seen in a brief role in superstar Akshay Kumar’s patriotic drama Kesari (2019), has some exciting projects lined up for release in 2019 and 2020. One of her upcoming films that everyone is eagerly waiting for is the official remake of Hollywood biggie The Girl On The Train (2016).
Earlier, Jacqueline Fernandez was set to play the female lead in the project. However, the Race 3 (2018) actress bowed out of the movie owing to some creative differences. Her exit paved the way for Parineeti Chopra to come onboard and headline the yet-to-be-titled film.
If the latest Instagram post on Chopra’s account is anything to go by, the gorgeous actress has just started preparing for her role in the remake. Taking to Instagram, Parineeti shared a picture of the script of the film alongside her favourite coffee mug which she has kept with her for the past 7 years now.
Parineeti wrote on Instagram, "Prep Girl On The Train (Also meet my 7 yr. old coffee mug that I cannot live without! I use it every day. Take it everywhere. It was @thisissahajchopra‘s first ever gift to me, so it’s super, super special.)"
The Girl On The Train is based on the 2015 bestseller by Paula Hawkins. Speaking about getting the plum role in the remake, Parineeti had earlier said, "It is a privilege for me to play the character that she (Emily Blunt) has essayed so brilliantly on screen. The restrain and range she showed as an actor while playing a girl who is troubled and battling herself in the film showed what a fantastic actor she is.”
Besides The Girl On The Train, Parineeti Chopra will also be seen in such hotly anticipated films as Jabariya Jodi, Sandeep Aur Pinky Faraar, Saina and an untitled film with director Anurag Basu.
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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