Priyanka Chopra is currently busy promoting her much-awaited film The Matrix Resurrections, starring Keanu Reeves in the lead role.
The Quantico star is leaving no stone unturned in promoting the film as much as possible ahead of its release on December 22, 2021.
Priyanka Chopra has now slammed a publication for calling her the ‘wife of Nick Jonas’ and shared the screenshot of the same on her Instagram story.
“Very interesting that I am promoting one of the most iconic film franchises of all time, and I am still referenced as ‘the wife of…’”
She continued and wrote, “Please explain how this still happens to women? Should I add my IMDb link to my bio?” The former Miss World also tagged her husband Nick Jonas in the post.
The actress plays the role of adult role of Sati in The Matrix Resurrections, directed by Lana Wachowski. In an interview with a magazine, she revealed how she landed the plum part in the film, “So when I got the call from my agent, I remember I was in India filming something, and they were like, 'Oh, Lana (Wachowski) wants to meet you tomorrow in San Francisco. I drove to the airport. I was like, ‘Sure!’ Whatever it takes to get the opportunity to work with all of you lot, it's just such a privilege and an honour.”
Meanwhile, Priyanka Chopra appeared on the 100th episode of Jada Pinkett Smith’s Red Table Talk and revealed how her husband Nick Jonas is a fan of the Matrix franchise and bragged to his fans that his wife was a part of the upcoming film of the franchise.
“He’s definitely a fan of The Matrix and I think he was very excited when I became a part of the movie. He may or may not have been very excitedly bragging, telling a few of his fans that I was part of the next one. Yeah.”
The Matrix Resurrections releases on December 22, 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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