Days after the official announcement of Kartik Aaryan’s next film Captain India, producer Subhash Kale had accused the makers of plagiarism. Kale had said that his upcoming film Operation Yemen is based on the same real-life incident as Aaryan’s Captain India.
The producer was talking about Operation Raahat, a 2015 operation wherein the Indian Armed Forces under the leadership of General V K Singh evacuated Indian and foreign citizens from Yemen during the Yemeni crisis.
The latest we hear is that the plagiarism row has been resolved after Kale spoke to producer Harman Baweja. “I spoke to Harman Baweja yesterday. We were misinformed about certain things and the timelines. We thought we registered the film first. Harmanji told me that they have been working on the film for a long time. But due to the Covid-19 pandemic, they had not approached anybody. He spoke to me with clarity. My best wishes are with him and the entire team of Captain India. I realized that even they have put a lot of effort into their project. We had feared that somebody leaked our story and gave it to them,” Kale tells a publication.
He goes on to confirm that both films are based on the same incident. “Yes, both films are indeed based on the same episode. Since it is a true incident and all the details are there in the public domain, one cannot claim to have the rights over a subject. Not just 2, even 4 films can be made on the same episode. Also, I never used the word “plagiarism”. I just meant that both films are similar. They registered the script in 2017. We, meanwhile, started working in 2016. The cousin of our director Sanjay Sankla was the pilot in this mission. So, we began work in 2016, but we started developing the script only in 2019-20. And then we completed writing it on June 7, 2021. We had started approaching artists,” he concludes.
Captain India is jointly produced by Harman Baweja and Ronni Screwvala of RSVP Films. Hansal Mehta is attached to direct.
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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