Bollywood showman Subhash Ghai has announced his next production venture, titled 36 Farmhouse. The veteran filmmaker, who is known for directing a number of successful Hindi films such as Karz (1980), Hero (1983), Meri Jung (1985) Karma (1986), Ram Lakhan (1989), Saudagar (1991), Khalnayak (1993), and Taal (1999), will bankroll the upcoming film under his production house Mukta Searchlight Films.
Ghai has roped in well-known Gujarati filmmaker Vipul Mehta to helm the project. Mehta shot to overnight fame after the huge success of his 2019 comedy-drama Chaal Jeevi Laiye, which ran for 75 weeks in theatres and emerged as the highest-grossing film of Gujarati cinema ever.
Talking about 36 Farmhouse, Subhash Ghai said in a statement, “We have been working vigorously on developing stories and scripts for the last four years for Mukta Arts and now it is time to enter into film production of Hindi films which is and has been our core business.”
He went on to add that his production house has collaborated with ZEE Studios to produce 36 Farmhouse and two other films, which will be announced in 2021 itself. “We are also glad that Mukta Arts in association with ZEE Studios is going to take three entertaining films on the floor this year under the Mukta Searchlight Films which has produced high-concept low-budget films like Iqbal (2005), Joggers Park (2003), Apna Sapna Money Money (2006), etc in the past. I am sure we are gonna win this year with fantastic scripts before we crack big-budget Hindi films with big stars. Please wait and watch for the next announcement,” concluded the acclaimed filmmaker.
There is no update on the plotline of 36 Farmhouse at the moment. The makers will, however, announce the cast and credits of 36 Farmhouse shortly. Till then, keep visiting this space for more updates and reveals 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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