Sanjay Leela Bhansali is keeping quite busy these days as he is gearing up to direct not one but two big-ticket movies in months to come. He will start with his much-awaited film Gangubai Kathiawadi with Alia Bhatt, followed by his next magnum opus titled Baiju Bawra.
Sanjay Leela Bhansali Productions officially announced Baiju Bawra on the auspicious occasion of Diwali, "After the release of Gangubai Kathiawadi on 11 Sep 2020, Sanjay Leela Bhansali to make his most ambitious film project titled Baiju Bawra... Revenge story of a maverick maestro... Diwali 2021 release,” read the official statement.
The latest we hear that Bhansali is in talks with superstar Ajay Devgn to play the lead role in Baiju Bawra. Divulging some crucial details, a source in the know tells an entertainment portal, "It's a two-hero film that Bhansali had been planning for some time. It has been in the works for more than a couple of years actually. In fact, at one point, he was all set to bring Salman Khan and Shah Rukh Khan together one more time with this period drama. They had liked the idea and wanted to do a film because both the roles are equally powerful in the script. But that did not happen."
Before announcing Baiju Bawra and Gangubai Kathiawadi, Sanjay Leela Bhansali was set to team up with Salman Khan on Inshallah. However, the superstar exited the project at the last moment and the dynamics between him and the director changed drastically afterwards.
"Sanjay and Salman decided to part ways on Inshallah and that happened on bitter terms. He wanted to announce Baiju Bawra first but he had already committed to Alia and wanted to stick to his commitment. He then moved ahead with Gangubai's biopic that will roll out and take up the dates Alia had already allotted for the film with SK. But after the big fight, Salman and SLB are not on talking terms and he immediately bounced the role to Ajay who seemed keen."
If Ajay Devgn agrees to come onboard to play the male lead in Baiju Bawra, the film will mark his reunion with Bhansali after two decades. The last two worked together was on Hum Dil De Chuke Sanam (1999).
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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