Ever since hitting the silver screen on Friday, Telugu film Uppena (2021) has been doing wonders at the domestic box-office. Not just critics and cine-goers, the romantic drama has been garnering overwhelming response from several members of the film fraternity also, who have been showering praises on the entire team for the rousing response that the film has generated at the ticket-window despite the ongoing Coronavirus pandemic.
The latest celebrity to commend the team of Uppena is none other than the leading Tollywood star Rashmika Mandanna. Though Mandanna is yet to watch the film, she seems quite impressed by the buzz that it has been creating all around ever since its release.
Taking to social media, Mandanna wrote, “Uppena… I am hearing such amazing things about the film. I’ll watch it soon. Loads of love to the debutant actors Panja Vaisshnav Tej and Krithi Shetty and director Bucchi Babu Sana.”
Praising seasoned actor Vijay Sethupathi, she wrote, Vijay Sethupathi, do I need to say more? As always, you killed it my rockstar garu. You are the best at what you do. Hands down.”
Uppena stars debutants Panja Vaisshnav Tej and Krithi Shetty in lead roles. Critics have praised their sizzling chemistry in the film which revolves around a lower-class boy who falls head over heels in love with a girl from a rich, influential family. The film has been jointly produced by Mythri Movie Makers and Sukumar Writings.
Meanwhile, Rashmika Mandanna is set to begin the next shooting schedule of her bilingual film Pushpa opposite Allu Arjun. Produced by Mythri Movie Makers, the film is being directed by Sukumar.
After wrapping up Pushpa, she will jet off to Mumbai to join Sidharth Malhotra on the sets of her debut Bollywood film Mission Majnu. The film started rolling a couple of days ago in Lucknow. It is reported to be inspired by real-life characters and true events from the 1970s. Malhotra plays the character of an Indian intelligence officer in the action thriller.
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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