Taapsee Pannu, who was last seen in Thappad (2020), has wrapped up the Ranchi schedule of her forthcoming film Rashmi Rocket. Sharing a black-and-white picture from a race sequence, the talented actress said that she is glad that she does not have to do this for real. Pannu plays the role of a sprinter in the sports drama.
“And it is a wrap on Ranchi schedule! Done with the races finally! Has not been a day I have not tipped my hat to the real athletes who do this every day of their life for years! I am glad I do not have to do this for real,” Pannu wrote on her Instagram handle.
The actress had recently shared her physical transformation journey in a video. In the video, she had revealed that she would not consume any steroids and would build her body very naturally to get into the skin of her character.
“I did not have the liberty being a female actor to sit at home while I build my muscle and get my body ready for the film. I had to do other films simultaneously. I was shooting for multiple other films while I was training for Rashmi Rocket. Two hours of rigorous training, going into 12-14 hours of shooting and coming back home, sleeping, getting up, and doing the same thing again. I have never been a gym person, not gone to gyms that often. For this film, I needed to hit the gym, and hit the gym real bad! It took me close to a month to start lifting serious weights. In the beginning, it was long warm-ups and from there onwards to eventually lifting over 20 kgs on head squat was something I never thought I will be able to do.”
Produced by Ronnie Screwvala of RSVP Movies, Neha Anand, and Pranjal Khandhdiya, Rashmi Rocket has been directed by Akarsh Khurana. The sports-drama is expected to arrive in theatres sometime in 2021.
Keep visiting this space for more updates 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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