Sidharth Malhotra and Tara Sutaria impressed everyone with their sizzling chemistry in Emmay Entertainment and T-Series Films’ Marjaavaan (2019). It was the first time when the two actors collaborated on a film, and the audience gave thumbs up to their fresh pairing by making Marjaavaan a successful venture.
Now, Bhushan Kumar of T-Series is bringing them together for a music video. Yes, you heard it absolutely right! Sidharth Malhotra and Tara Sutaria are reuniting to star in the recreated version of the hit Delhi 6 (2006) track Masakali. While the original song was composed by Oscar winning composer A. R. Rahman, the recreated version has been prepared by Tanishk Bagchi.
Titled Masakali 2.0, the song has been sung by Sachet Tandon and Tulsi Kumar, with additional lyrics by Tanishk. The music video has been choreographed and directed by Adil Shaikh.
Talking more about the song, Sidharth Malhotra says, “Masakali is an indoor song, which has more relevance today because all of us are staying in and staying safe, given the current situation. That time, we unintentionally made a song on the same situation where two people are trying to stay indoors and had fun, did masti. That was the feeling on the set. I am looking forward to it.”
Talking about the recreated version, Tara says, “Masakali 2.0 was wonderful to film and such fun to rehearse for. Sid and I rehearsed only once but we managed to shoot the whole song so quickly and effortlessly, it was a breeze! Masakali is such a loved song from Delhi-6 and it is so catchy despite being a mid-tempo tune. I loved the original version and I think Bhushanji and Tanishk have reimagined Masakali 2.0 beautifully. Tulsi and Sachet have given it a fun and sexy spin which I love! It is amazing to have had yet another great song to work on.”
The song will be out on T-Series’ YouTube channel on 8th April 2020.
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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