And here comes the great news for all the fans of immensely talented television actress Surbhi Chandna, who have been missing her sorely since her popular Star Plus show Ishqbaaaz went off-air a couple of months ago.
The gorgeous actress has just started shooting for her next show, titled Sanjivani. Does not the title of her next show ring a bell in your mind? Yes, you guessed it absolutely right! Sanjivani is the reboot version of the Cinevistaas Limited-produced medical drama Sanjivani, which aired on Star Plus from 2002 to 2005.
The show was a huge success on television and, in the following years, also spawned a sequel titled Dill Mill Gayye, which had Karan Singh Grover, Jennifer Winget, Karan Wahi and Drashti Dhami headlining the cast. The second season of the show, which aired on Star One, also turned out to be an instant hit among audiences and shot Karan Singh Grover, Jennifer Winget, Karan Wahi and Drashti Dhami to overnight fame.
Star Plus is bringing back the hit show after one and a half decade. While the original version starred Gurdeep Kohli, Sanjeet Bedi, Rupali Ganguly, Arjun Punj and Mohnish Bahl in pivotal roles, the upcoming version will be headlined by Surbhi Chandna and Namit Khanna. Several other actors will join the star cast as the story progresses.
Today, Surbhi Chandna and Namit Khanna commenced the shoot of the soap, which is being produced by Siddharth P Malhotra’s banner Alchemy Films. Malhotra took to Instagram to share an image from the sets of the show, along with a clapperboard with the name of Sanjivani written on it.
Though there is no update on the premiere date of Sanjivani, buzz has it that it will hit the airwaves on Star Plus from July.
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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