Varun Dhawan, who was last seen in Coolie No. 1 (2020), which had its direct-to-digital premiere on Amazon Prime Video, has some interesting projects lined up, one of them being Maddock Films’ next production Bhediya. The actor wrapped up the first schedule of the eagerly awaited horror comedy in April.
From what we hear, director Amar Kaushik has already completed over 90 per cent of the shoot at real locations in the midst of towering mountains and lush jungles of Arunachal Pradesh, and for the last leg of the shoot, the team is set to come together again on June 26 in Mumbai.
“Varun and the entire team of this Dinesh Vijan and Jio Studios’ production reunites in Mumbai for the final leg of the film. It is going to be a brief shoot before the team calls it’s a wrap,” a source close to the development informs an entertainment portal. The source goes on to add that the makers are committed to following all coronavirus safety protocols to ensure a safe and secure shooting environment on the sets.
Bhediya reunites Dhawan with Kriti Sanon after a long gap of 6 years. The duo last shared the screen space in Rohit Shetty’s romcom Dilwale, also starring Shah Rukh Khan and Kajol. Both actors are working with director Amar Kaushik for the first time.
According to reports, Bhediya is heavy on post-production, and the VFX team has been working on the already shot portions to get the special effects right. An international action and VFX team have come on board to work on the film, which is scheduled to hit screens on April 14, 2022.
After wrapping up Bhediya, Varun Dhawan is expected to move on to wrap up pending portions of his next Jug Jugg Jeeyo, co-starring Kiara Advani, Neetu Kapoor, Anil Kapoor. Directed by Raj Mehta, the social dramedy film has Karan Johar as the producer.
Keep visiting this space over and again for more updates and reveals 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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