Rumours were doing the rounds of late that actress Sonakshi Sinha, who was most recently seen in Dharma Productions’ Kalank (2019), was set to star in an upcoming biopic based on the life of Paralympics Champion Deepa Malik. Farhan Akhtar and Ritesh Sidhwani, who have rights to the biopic secured with them, will bankroll it under the banner of Excel Entertainment.
However, when Sonakshi Sinha was asked about the same, she had something different to say. Talking about the film, the actress told an entertainment portal, “It's all speculation right now. I am not the kind of person who would talk about a film until I have signed on the dotted line. People can speculate what they want to but when my films have to be announced, the right people will do it.”
When asked if she would be interested in headlining a biopic at this point in her career, Sonakshi Sinha added, “I would be interested in doing a good story, something which challenges me and has a great role for me.”
Meanwhile, Sonakshi Sinha is currently looking forward to the release of her next film Khandaani Shafakhana. Helmed by debutante Shilpi Dasgupta, Khandaani Shafakhana also stars talented actors Varun Sharma and Annu Kapoor in important roles. The film is set to hit the silver screen on 26th July, 2019.
After the release of Khandaani Shafakhana, Sonakshi Sinha will next be seen in the upcoming multi-starrer Mission Mangal. Slated to hit the marquee on 15th August, the film also features Akshay Kumar, Vidya Balan, Taapsee Pannu, Nithya Menen, Sharman Joshi and Kirti Kulhari on its ensemble cast.
The actress will cap off 2019 with the release of her much-awaited film Dabangg 3. Also starring superstar Salman Khan, who returns to play his iconic character of Chulbul Pandey for the third time, the cop-drama is scheduled to release on 20th December.
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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