Prabhas, who rose to international fame after the humongous success of gobsmackingly epic Baahubali: The Beginning (2015) and Baahubali: The Conclusion (2017), was busy shooting for his 20th outing when the Coronavirus pandemic struck and all shooting activities came to a screeching halt everywhere in the world.
Though the Indian film industry is gearing up to resume shooting in a couple of weeks, there is no update on when the makers of Prabhas’ next will roll the camera again. Meanwhile, the news is coming in that the makers have finalised a new title for the romantic action entertainer. Earlier called Jaan, the movie has now been titled Radhe Shyam. However, there has been no official announcement confirming the development.
Last seen in Saaho, which emerged as one of the highest-grossing films of 2019, Prabhas plays a dual role in his next. One of his characters is a palmist. Pooja Hegde, who has been delivering back-to-back hits across industries, stars opposite Prabhas. This is the first time when both actors are working together on a project. The audience is really excited and is looking forward to seeing their crackling chemistry on the silver screen.
Directed by well-known South Indian filmmaker Radhakrishna Kumar, the forthcoming film has become one of the most anticipated movies of the year. But if reports are to be believed, it may not make it to theatres in 2020. Some media outlets suggest that the makers are planning to release it early next year as a major chunk is yet to be shot.
Prabhas will also star in an untitled film, which will be helmed by Nag Ashwin. Pooja Hegde, on the other hand, will romance superstar Salman Khan in her next Hindi film Kabhi Ek Kabhi Diwali.
Keep visiting this space for more updates from the world of showbiz.
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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