There is no denying the fact that Dabangg is one of the most profitable franchises Bollywood has produced in the past decade. The first instalment of the series hit the marquee in 2010, and now the makers are gearing up to release the third part.
At the song launch of Dabangg 3, Salman Khan hinted at Dabangg 4 already being in the works. During one of his interviews, the superstar has confirmed that the fourth instalment of the Dabangg franchise is indeed in the pipeline, even before the release of Dabangg 3.
Khan said in the interview, “We have Dabangg 4 written too.” Well, if the fourth part has already been written, we can expect it in cinemas in a couple of years, unlike Dabangg 3 for which fans had to wait for seven long years after the release of Dabangg 2 in 2012.
When asked how he comes up with plans of making sequels, Salman Khan told the publication, “They just come about. Sometimes, one film gives you an idea for the next. In Dabangg 3, we explore why Rajjo's father was an alcoholic and how Chulbul Pandey met her. When you see the film, you will understand what all we have gone through.”
Dabangg 3, which is scheduled to arrive in cinemas on 20th December 2019, is expected to open to packed houses. Trade pundits believe that the film has got everything to emerge as the biggest opener of the year. After all, everyone is waiting to see Chulbul Pandey back on the screen once again.
Aside from Salman Khan, Dabangg 3 also stars Sonakshi Sinha who reprises her role of Rajjo. Saiee Manjrekar, daughter of well-known actor-filmmaker Mahesh Manjrekar, is making her silver screen debut with the film. The Prabhudheva directorial enters theatres on 20th December 2019.
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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