YRF’s Prithviraj starring Akshay Kumar, Sanjay Dutt, Sonu Sood, and Manushi Chhillar is undoubtedly one of the most awaited films of 2022. The movie was slated to release in 2020, but was postponed due to the pandemic.
Now, finally, the film is slated to hit the big screens on 21st January 2022, and on Monday (15), the makers unveiled the teaser of the film.
Kumar took to Twitter to share the teaser with his fans. He tweeted, “A heroic story about pride and valour. Proud to play Samrat #Prithviraj Chauhan. Celebrate #Prithviraj with #YRF50 only at a big screen near you on 21st January’22. @ManushiChhillar @duttsanjay @SonuSood #DrChandraprakashDwivedi @yrf.”
— (@)
The movie is a biopic on King Prithviraj Chauhan and Kumar plays the titular role in it. Former Miss World, Manushi Chhillar, will be making her acting debut with the film.
The teaser of Prithviraj is decent and it looks like a grand film, but there are a couple of scenes that remind us of Bajirao Mastani, Padmaavat and even Panipat; maybe because it is a period film just like the others.
While talking about the teaser, Kumar in a statement said, "The teaser of Prithviraj captures the soul of the film, the essence of the life of the legendary warrior Samrat Prithviraj Chauhan, who knew no fear. This is our tribute to his heroism and his life. The more I read about him, the more I was awed by how he lived and breathed every single second of his glorious life for his country and his values."
"We hope that Indians worldwide love our salute to this mighty braveheart. We have tried to present his life story in the most authentic way possible and the film is a homage to his unmatched bravery and courage," he added.
Well, the teaser has been released and reportedly, the trailer will also be out soon and it will be attached with YRF’s another film Bunty Aur Babli 2 which is slated to release on 19th Nov 2021.
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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