Star Plus’ new show Anupamaa, which was scheduled to hit the airwaves on 16th March 2020, will now commence its run at a later date. The makers decided to defer the premiere date of the upcoming show keeping in mind the safety of the entire cast and crew in the wake of the Coronavirus outbreak.
Anupamaa is the official Hindi remake of well-received Bengali show Sreemoyee which airs on Star Networks’ Bengali-language channel Star Jalsha. While the original series is made under the banner of Magic Moments, the Hindi version is being produced by well-known television producer Rajan Shahi of Yeh Rishta Kya Kehlata Hai and Yeh Rishtey Hain Pyaar Ke fame.
Popular television actress Rupali Ganguly, who has on her resume several successful shows such as Sarabhai vs Sarabhai (2004-06) and Sanjivani (2002-05), plays the title role of Anupamaa who is an accomplished homemaker donning multiple hats just like most of the women out there.
Last seen in Sony Entertainment Television’s show Parvarrish – Kuchh Khattee Kuchh Meethi (2011-13), Rupali is making her television comeback after a long gap of seven years. She is quite psyched up about her return on television.
Talking about the same, the actress says that the credits for her comeback goes to her husband (Ashwin K Verma) who motivated and supported her to sign Anupamaa. She adds that she was all happy taking care of her little son, but her husband encouraged her to take up the show. Rupali proudly says she is satisfied being a mother and homemaker, but her husband decided to take the duties from her to help due to her new project. Additionally, Anupamaa had something exciting about it, which made Rupali to take up the show.
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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