RRR, one of the most-anticipated Indian films of 2022, will now enter cinemas on March 25, the makers announced on Monday.
The Telugu-language period drama, whose dubbed versions will release in several other popular Indian languages including Hindi, stars Ram Charan. Jr NTR, Ajay Devgn, and Alia Bhatt in important roles.
Directed by acclaimed filmmaker SS Rajamouli, the mega-budgeted film has faced an inordinate delay in its release, primarily because of the coronavirus pandemic. Earlier this month, the makers had announced two dates for the release of the film - March 18 and April 28. However, they have now decided to release the film on March 25, 2022.
A source in the know informs a leading publication that the makers of RRR decided against releasing the film on March 18 as a mark of respect to Kannada superstar, late Puneeth Rajkumar, as his last film James is set to release on March 17.
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“His last film, James, is slated to release on March 17. While the distributors in Karnataka were already having mega plans to celebrate power star’s last film, SS Rajamouli and co. on their own will decided to delay their magnum opus by a week. It is their tribute to the legendary actor,” the source divulges.
Bankrolled by Lyca Productions, RRR is a fictional tale based on the lives of two freedom fighters in the early 20th century – Alluri Sitarama Raju (Charan) and Kumram Bheem (NTR Jr). The film has been in the making for almost three years.
The film is set to clash with the much-awaited horror-comedy film Bhool Bhulaiyaa 2, which is also set to release on March 25. It is a sequel to the successful 2007 film Bhool Bhulaiyaa and stars Kartik Aaryan, Kiara Advani, and Tabu in significant roles.
Keep visiting this space over and again for more updates and reveals 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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