Acclaimed filmmaker SS Rajamouli on Thursday unveiled the trailer of his much-awaited film RRR, starring Ram Charan, NTR Jr, Ajay Devgn, and Alia Bhatt. The entire team, excluding Charan, came together to launch the trailer of the film at a multiplex in Mumbai.
Rajamouli, who shot to international fame with the riotous success of Baahubali: The Beginning and Baahubali: The Conclusion (2017), said during the press conference that he is aware there will be comparisons between the new film and his previous Baahubali franchise but he is not burdened by the audiences’ expectations.
“There are a lot of people obviously expecting the same kind of film after Baahubali. But we can't keep making the same films again and again. I am aware of the expectations but I will be banking more on the story, the characters, the relationship between the characters, and the emotional high we get while watching them. Also, any section of the audience that comes to the theatres (based on) the trailer or previous track records or hero's images (that) will only help to bring them back to theatres. But the moment they come, then within two-three minutes into the film will be watching what the film (RRR) is and not what we did before," Rajamouli told reporters.
The director, also known for blockbusters like Magadheera (2009) and Eega (2012), believes the fans are only looking for an experience similar to Baahubali from the world of RRR. “If you look deeply, the audience is not waiting for another Baahubali, they are waiting for the kind of experience they had in the film, the kind of emotion they felt in the film that is what they want because they don't have that much of analysis to tell you. So simply they say we want another Baahubali. But what people want is the same kind of emotion and high,” he added.
For RRR, the director has roped in Devgn and Bhatt, who are making their debut in the Telugu film industry. Rajamouli said it is just a “mental block” that has demarcated actors according to their region, which shouldn't have been the case.
“It is just a mental block that North actors have to act only in Hindi films and South actors have to act in movies in South Indian languages. We cast them because they're great actors. Acting doesn't have a language. Once we remove the mental block, then we have a big area of actors, who you can approach. I'm not an actor but I'm pretty sure they all want to do challenging characters. If they have more directors from different languages, approaching them for characters, they will also be interested. In the future, you'll be seeing more collaborations across languages. If you believe in your core storytelling, you don't need to worry about languages. Whether it's Telugu, Tamil, Hindi, or any other language, it doesn't matter. Language is just a medium of communication. Words are just small bridges. In cinema, visuals tell you the story. When the language doesn't matter, you bank on the best actor who suits the role,” he said.
Produced by DVV Entertainments, RRR will arrive on January 7, 2022.
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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