Speculations are rife in Bollywood corridors that Varun Dhawan has been roped in to play the male lead in filmmaker Amar Kaushik’s next directorial offering. Kaushik, who became a creative force to reckon with after the huge success of Stree (2018) and then Bala (2019), is set to commence work on his next titled Bhediya. Producer Dinesh Vijan is bankrolling the horror-comedy under Maddock Films.
The latest update on the forthcoming project is that Shraddha Kapoor might bag the female lead role in it. If the actress manages to snag the part, it will reunite her with Varun Dhawan after Street Dancer 3D (2020).
A source in the know informs an entertainment portal, “Shraddha Kapoor is one of the top contenders for Bhediya. It is yet another horror comedy for the team after Stree and when Amar was looking for an actress to step in as the main lead opposite Varun, he approached Shraddha for the same. He has given her a narration and she has liked it. But the other modalities need to be worked out before she signs on the dotted line. The team plans to roll the film sometime in Itanagar.”
Stree, starring Rajkummar Rao and Shraddha Kapoor, was one of the highest-grossing films of 2018. If Shraddha signs Bhediya on the dotted line, it will not only mark her reunion with Varun Dhawan but filmmaker Amar Kaushik also. Plus, it will be a second horror-comedy for her after Stree.
Meanwhile, Shraddha Kapoor is presently waiting for the commencement of successful filmmaker Luv Ranjan’s next directorial. The untitled film stars Ranbir Kapoor as the male lead. Shraddha and Ranbir are coming together for the very first time, which makes the project even more special for film enthusiasts.
Keep visiting this space for more updates from the glitzy world of Bollywood.
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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