Contrary to reports, Ranbir Kapoor is not headlining filmmaker Sanjay Leela Bhansali’s next directorial venture, Baiju Bawra. The celebrated filmmaker is rather considering his frequent collaborator Ranveer Singh for one of the two leads in the much-awaited musical.
Rumours were doing the rounds lately that Bhansali had approached Kapoor to lead the cast of Baiju Bawra but the latter turned down the offer. However, a source close to the development informs a publication that the Saawariya (2007) actor was never in consideration for the said project.
The source divulges, “Ranbir has not been offered Baiju Bawra. The only time Ranbir turned down a role in a Bhansali film was when he was offered Guzaarish (2010). Bhansali offered him the role that was eventually played by Aditya Roy Kapur. Ranbir had a valid reason for turning it down. He told Bhansali, ‘How can I play a supporting role to Hrithik Roshan? It will typecast me as a supporting actor.’ And that was that.”
Talking about the casting of Baiju Bawra, the source close to Bhansali productions lets on, “It is Ranveer Singh who is being seriously considered for the part. Nothing has been finalized yet. Right now, Bhansali’s focus is on the casting of Heera Mandi.”
For the uninitiated, Sanjay Leela Bhansali is gearing up to make his digital debut with an upcoming streaming show titled Heera Mandi. The filmmaker had envisioned the said project as a film several years ago, but now it is being designed as a streaming show for a leading platform.
Buzz has it that Sonakshi Sinha has been roped in to play the female lead in the show. Kartik Aaryan is also rumoured to be playing an important character. Some media outlets have lately reported that Madhuri Dixit is onboard for a special song. An official announcement is highly awaited though.
Keep visiting this space over and again for more updates and reveals from the 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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