Popular Bollywood actor Sidharth Malhotra is on a roll. While he already has several exciting projects at various stages of development currently, he has reportedly signed a new film, set to be produced by Amar Butala.
Amar Butala, who is the ex-COO of Salman Khan Films, is turning an independent producer. He has roped in Sidharth Malhotra to play the lead role in his maiden project, which we hear is based on a true event. The film will be directed by ad-filmmaker Shantanu Bagchi and produced by Amar Butala. It is expected to begin production in 2021.
When Bagchi was contacted, he confirmed the news to a publication but said that he would talk more only after bringing Butala in the loop. Butala, however, chose not to divulge any detail at this moment.
Talking about Amar Butala, he has earlier worked with UTV Motion Pictures and Balaji Motion Pictures. He then went on to join Salman Khan Films as COO and produced such films as Bajrangi Bhaijaan (2015), Hero (2015), and Tubelight (2017) for the production house.
After quitting SKF, he joined Fox Star Studios in October 2017. But after the exit of CEO Vijay Singh in March earlier this year, Butala also left the organisation. Sources reveal that he has now turned independent producer.
Meanwhile, Sidharth Malhotra is currently waiting for the release of his next film Shershaah. Produced by Dharma Productions, the film is a biographical drama based on the life of Kargil martyr Vikram Batra. Shershaah also stars Kiara Advani in the lead role.
The actor will soon commence the first shooting schedule of a new film with T-Series. The project is an official remake of superhit Tamil thriller Thadam (2019). Interestingly, Shershaah and the official remake of Thadam both films star Malhotra in a double role.
Keep visiting this space for more updates from the world of entertainment.
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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