According to reports, celebrated filmmaker S. S. Rajamouli has resumed production on his much-awaited film RRR in Hyderabad. The magnum opus, which features Jr NTR and Ram Charan in principal roles, had to stall its shoot in March due to the Coronavirus outbreak. News has it that Rajamouli has planned a two-month-long schedule without any break to wrap up the film.
We also hear that both Jr NTR and Ram Charan are not likely to join the shoot immediately. The team is looking at filming some crucial scenes with the rest of the cast. Ram Charan is expected to join the sets only after completing his portion for upcoming film Acharya, which stars his superstar father Chiranjeevi in the lead role. The actor is doing an extended cameo in the hugely anticipated movie.
Set in pre-independent India, RRR tells the tale of two well-known revolutionaries, Alluri Sitarama Raju and Komaram Bheem. Talking about the film, Rajamouli had earlier said in an interview, “This will be a fictional story on the lives of Alluri Sitarama Raju and Komaram Bheem. There are gaps in the lives of these legendary freedom fighters that we do not know about. We do not know what happened in their lives in these years. It is through this fictional story we would like to show what could have happened in their lives and what would have happened if they met and bonded.”
In addition to Jr NTR and Ram Charan, RRR also features Ajay Devgn and Alia Bhatt who appear in extended cameos in the movie. Both Ajay and Alia will be making their Telugu debut with the high-profile project.
Made under the banner of DVV Entertainments, RRR will be released in ten Indian languages. It is slated for its theatrical bow in 2021.
Keep visiting this space for more updates 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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