Headlined by Bollywood superstar Salman Khan, Radhe: Your Most Wanted Bhai was one of the most anticipated films of 2020. Also starring Disha Patani, Randeep Hooda, and Jackey Shroff in central characters, the movie was set to storm into theatres on the auspicious occasion of Eid this year. However, the sudden outbreak of the Coronavirus pandemic followed by strict lockdown and closure of theatres derailed all the plans.
After a long break of several months, the team recently resumed shooting and complete the remaining portion of the cop-drama in a studio. The movie will now release theatrically next year on Eid, according to reports.
The latest we hear that Radhe: Your Most Wanted Bhai is going to be unusually different from all other outings of Khan. Reportedly, the film will not feature any songs. Yes, you read that absolutely right!
“You tell me, does it make any sense for a no-nonsense cop to burst into a song for no rhyme or reason? It is okay for Salman’s Chulbul Pandey to sing and dance, as he is a full-on mastikhor (mischievous). But Radhe is different,” a source close to the development informs an entertainment portal.
Well, Salman Khan’s films have largely been loaded with good songs. The hit music of his films has always contributed a lot towards the final numbers at the box-office. So, it will be quite interesting to see how his diehard fans and regular public react to a songless Salman Khan-starrer.
Jointly produced by Reel Life Production Private Limited, Sohail Khan Productions, and Salman Khan Films Radhe: Your Most Wanted Bhai is directed by Prabhu Deva, who has previously directed Salman Khan in such box-office hits as Dabangg 3 (2019) and Wanted (2009).
Keep visiting this space over and again for more updates from the glitzy world of entertainment.
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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