Most recently seen in Colour Yellow Productions’ Laal Kaptaan (2019), Saif Ali Khan is currently looking forward to the release of his next film Tanhaji: The Unsung Warrior which features him in a negative role. The historical drama also stars Ajay Devgn and Kajol in lead roles and is set to arrive in theatres on 10th January, 2020. The trailer of the movie, which was released recently, has been received greatly by the audience, with everyone praising Khan’s evil look in it.
After Tanhaji: The Unsung Warrior, Saif Ali Khan will be seen in his home production Jawaani Jaaneman alongside Tabu. The film marks the acting debut of former model and actress Pooja Bedi’s daughter Alaia Furniturewala. Jawaani Jaaneman will be followed by Fox Star Studios’ Dil Bechara wherein he plays an important character.
The latest we hear that the National Film Award winning actor has added yet another interesting project to his resume. According to fresh reports, Saif Ali Khan has given his nod to star in filmmaker Rahul Dholakia’s next directorial offering which still remains untitled.
Reportedly, the forthcoming project is a thriller and revolves around the strong bond between a father-daughter duo, which was one of the main reasons Khan agreed to come onboard. Ananya Panday is rumoured to have been cast to play his daughter in the film. If everything works out well, the team is looking at beginning production in April 2020.
Saif Ali Khan is also rumoured to have given his nod to Yash Raj Films’ Bunty Aur Babli 2 alongside Rani Mukerji and Siddhant Chaturvedi. The film is a sequel to 2005 hit Bunty Aur Babli, originally starring Abhishek Bachchan, Amitabh Bachchan and Rani Mukerji. The makers are yet to announce the project officially.
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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