After a terrible 2020, showbiz has high hopes from 2021. If we talk about Bollywood in particular, several high-profile films are scheduled to hit the marquee in 2021, with superstar Aamir Khan’s much-talked-about period drama Laal Singh Chaddha being one of them.
Directed by Advait Chandan, Laal Singh Chaddha was originally slated to release on Christmas 2020. However, its shoot got delayed due to the Coronavirus pandemic which led the makers to move off its release from Christmas 2020 to Christmas 2021.
Apart from being an Aamir Khan starrer, what makes Laal Singh Chaddha even more special is the fact that it will have a cameo appearance by superstar Salman Khan. The Dabangg (2010) actor will revive his on-screen persona of the 1990’s lover-boy Prem. In the movie. “Salman plays his role from Maine Pyar Kiya (1989), which was primarily shot in Ooty. The scene is set in the year 1989 when Salman made his debut,” a source tells an Indian publication.
The source goes on to add that the scene will be filmed at Bandra’s Mehboob Studios on 8th January. “It shows him filming in Ooty, where popular songs like Dil Deewana were canned. For the part, Ashley Rebello will also design the iconic black jacket from the film for Salman. Aamir’s character, an Army man in his 20s, will be seen bumping into Salman. Aamir has been sporting a clean-shaven look over the last few weeks because that is the demand of the scene,” adds the source.
For the uninitiated, Laal Singh Chaddha an official remake of Tom Hank’s Hollywood classic Forrest Gump (1994), wherein Aamir Khan will be seen sporting several avatars. The film also stars Kareena Kapoor Khan in the lead role. The duo is reuniting after a huge gap of eight years as they were last seen together in the 2012 film Talaash: The Answer Lies Within.
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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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