Priyanka Chopra has been in the industry for more than a decade and Parineeti Chopra has completed eight years in Bollywood. However, we haven’t seen the Chopra sisters sharing screen space in a film. But, now finally they have teamed up for a project.
However, there’s a twist here. We won’t get to see them together on the big screen, but we will get to hear them together. Well, Priyanka Chopra and Parineeti Chopra have teamed up to dub for the Hindi version of Disney’s Frozen 2.
Priyanka took to Instagram to inform everyone about it. She posted, “Mimi and Tisha are now Elsa and Anna! The #ChopraSisters are finally coming together for Disney’s Frozen 2. Can’t wait for you guys to see us… I mean HEAR us bring these amazing, strong characters to life in Hindi. #Frozen2 in theatres on 22nd November 2019. @parineetichopra @disneyfilmsindia #frozensisters.”
This won’t be for the first time when Priyanka and Parineeti will be dubbing for a Hollywood movie. The former had dubbed for 2013 release Planes and the latter had dubbed for The Big Friendly Giant.
Well, this year, we have seen many Hollywood films that were dubbed in Hindi by the big stars of Bollywood. Shah Rukh Khan and his son Aryan Khan dubbed for The Lion King, Aishwarya Rai Bachchan has dubbed for Maleficent: Mistress Of Evil, and now Priyanka and Parineeti are dubbing for Frozen 2.
Talking about Priyanka’s other movies, the actress was last seen on the big screen in The Sky Is Pink which failed to make a mark at the box office. She has We Can Be Heroes and The White Tiger in her kitty. Meanwhile, Parineeti Chopra is currently busy with the shooting of Saina, a biopic on Saina Nehwal. She also has Bhuj: The Pride of India and The Girl on the Train in her kitty.
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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