Last seen in Street Dancer 3D (2020), Varun Dhawan is presently waiting for the release of his much-anticipated film Coolie No. 1. Helmed by his filmmaker father David Dhawan, the comic-caper will reportedly have its digital premiere on Diwali on Amazon Prime Video as theatres across India remain shuttered due to the Coronavirus pandemic.
After the release of Coolie No.1, Varun Dhawan will have three projects on his platter, including a high-profile film with producer Sajid Nadiadwala. “Sajid and Varun had teamed up for Judwaa 2 (2017), which also turned out to be Varun’s highest-grossing solo film ever. Now, after three years, they have decided to reunite one more time,” a source close to the development informs an entertainment website.
The source goes on to add, “It’s a masala action film in the space that Varun already specialises in. It is titled Sanki and Rajat Arora is scripting the film right now. When the film was being locked, Sajid offered it to Varun who loved it and gave it a go-ahead. The deal is signed and Varun will also undergo a two-month prep for the film before it begins.”
The source concluded by saying, “The actor and filmmaker were planning to do a film together, but they were not getting the right script. Sanki fits the bill perfectly, and it is going to be a well-mounted commercial actioner. Nadiadwala had the rights to the title too, and they decided to use it for this movie.”
In addition to the aforementioned project, Varun Dhawan has signed filmmaker Amar Kaushik’s next horror-comedy Bhediya, and Sriram Raghavan’s biographical drama Ekkis. We hear that the actor has also given his nod to filmmaker Raj Mehta’s next directorial outing, which will be produced by Karan Johar under Dharma Productions.
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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