After the success of Badla, Mission Mangal and Saand Ki Aankh in 2019, Taapsee Pannu is looking forward to the release of her Thappad, which will be her first release in the year 2020. The movie has been directed by well-known filmmaker Anubhav Sinha whose last directorial offering, Article 15, received widespread acclaim in 2019.
Taapsee Pannu is quite psyched up about the upcoming film. Talking about in detail, the talented actress says, “Working with Anubhav sir is always an enriching experience and he encourages one to push the envelope. When he discussed Thappad, I immediately decided this was a film I had to do. It has a thought-provoking storyline and deals with a subject which must be addressed in our society.”
Adding further, Pannu says, “To put it in perspective, looking at what we aim to convey with our film, I can say Thappad is this year’s Pink (2016).”
Besides Taapsee Pannu, Thappad also boasts the presence of several experienced actors on its ensemble cast, including Ratna Pathak Shah, Manav Kaul, Dia Mirza, Tanvi Azmi and Ram Kapoor. The movie has been produced by Anubhav Sinha in association with Bhushan Kumar of T-Series Films. It is scheduled to arrive in cinemas on 28th February. Before its theatrical release on 28th February, the makers are set to release the trailer on 31st January 2020.
In addition to Thappad, Taapsee Pannu is also doing filmmaker Vinil Mathew's mystery thriller Haseen Dillruba. The film mounted the shooting floor recently. A couple of days ago, the makers of her much-awaited film Shabaash Mithu unveiled its poster. Shabaash Mithu is a biopic on Indian cricketer Mithali Raj. The actress is also doing a couple of films down South.
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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