The makers of the upcoming action thriller film Pathaan finally unveiled the official trailer on Tuesday.
Taking to Instagram, actor Shah Rukh Khan shared the trailer which he captioned, "Mehemaan nawaazi ke liye Pathaan aa raha hai, aur pataakhen bhi saath laa raha hai! Pathaan trailer out now! Link in bio. Releasing in Hindi, Tamil, and Telugu on 25th January 2023."
Helmed by Siddharth Anand 'Pathaan' stars Shah Rukh Khan, Deepika Padukone, John Abraham, Dimple Kapadia, and Ashutosh Rana in the lead roles and is all set to hit the theatres on January 25, 2023.
The two-minute-long trailer showcases Shah Rukh Khan and Deepika as spy agents standing against a powerful enemy, played by John Abraham, who is planning a big attack in India.
Shah Rukh's character introduces with dialogue " Party Pathan ke ghar rakhoge to mehman navazi ke liye Pathan to ayega aur pathaake bhi layega."
Soon after the 'Chak De India' actor shared the trailer, fans flooded the comment section with red hearts and fire emoticons.
"Pathan is here," a fan commented.
Another fan wrote, "Party pathan ke ghar par rakhoge to mehmaan navazi ke liye pathan to aayega goosebumps."
"Shah Rukh ka ab Vanvaas Khatam ...," a fan wrote.
Recently, the makers unveiled the songs 'Besharam Rang' and 'Jhoome Jo Pathaan' which received massive responses from the fans.
'Pathaan' marks Deepika and Shah Rukh's fourth collaboration after their super hit films 'Om Shanti Om', 'Happy New Year', and 'Chennai Express'.
Meanwhile, SRK will also be seen in director Atlee's upcoming action thriller film 'Jawan' and Rajkumar Hirani's 'Dunki'.
Deepika, on the other hand, will be next seen in 'The Intern', in a Pan India film 'Project K' alongside actor Prabhas and in director Siddharth Anand's 'Fighter' opposite Hrithik Roshan.
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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