Starring Salman Khan in the lead role, Radhe: Your Most Wanted Bhai is one of the most awaited films of 2020. After Dabangg 3 (2019), Khan will be seen essaying the role of a cop once again in his forthcoming offering.
According to the latest media reports, Radhe: Your Most Wanted Bhai will have three villains, to be played by Randeep Hooda, Gautam Gulati and new actor Sang Hae. Salman Khan will have several on-screen fight scenes with all the three actors.
Hooda is collaborating with Salman Khan after Yash Raj Films’ Sultan (2016), a sports drama which went on to emerge as one of the highest grossing films of the year. While Sultan featured him in the role of a trainer, Radhe: Your Most Wanted Bhai has him in a villainous avatar.
Popular television actor and former Bigg Boss winner Gautam Gulati and Sang Hae are working with the superstar for the first time. If all works well for the two actors, it should not come as a surprise if Khan goes on to collaborate with them again in future projects.
Aside from Radhe: Your Most Wanted Bhai, Salman Khan also has Sajid Nadiadwala’s Kabhi Eid Kabhi Diwali in his pocket. The film is expected to hit the shooting floor in the second half of the year. Buzz has it that the superstar is also in talks with Yash Raj Films’ head honcho Aditya Chopra for the next instalment of the Tiger franchise after Ek Tha Tiger (2012) and Tiger Zinda Hai (2017).
Radhe: Your Most Wanted Bhai, also starring Disha Patani and Jackie Shroff in important roles, is scheduled to release on Eid 2020. However, if the Coronavirus outbreak does not subside, the makers may decide to postpone the release date of the film.
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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