After the earth-shattering success of his directorial debut Stree in 2018, filmmaker Amar Kaushik faces the audience with his second film Bala. Starring Ayushmann Khurrana, Yami Gautam and Bhumi Pednekar in lead roles, the movie revolves around a man who loses his hair prematurely.
Bala released on 8th November to excellent reviews. Not just the audience, several Bollywood celebrities who watched the film at a special screening have tons of positive things to say about it. At the special screening of Bala, actor Varun Dhawan said that he would like to collaborate with Amar Kaushik on a film.
“I love Amar as a director. He is someone with whom I would like to work in the future. I think Bala’s trailer is really unique and the film has really good actors like Saurabh Shukla, Javed Jaffrey, Yami Gautam, and Bhumi Pednekar — and Ayushmann is obviously wonderful,” said Varun.
“I think this film was made because of Amar Kaushik’s receding hairline,” Varun joked, before adding, “This problem exists all around the world. It is something that people should not run away from. I think what is great about Bala is that you (the makers of the film) are taking on the problem head-on and making sure that people don’t feel embarrassed by it. Ayushmann is doing really good work at the moment. Right now, he is in Banaras, and I wish that his film does really well, so that the industry makes lots of money and this man (Dinesh Vijan) can invest that money in my film.”
Meanwhile, Varun Dhawan is busy shooting for his next film Coolie No. 1. As the title suggests itself, the movie is an official remake of the 1995 cult comedy of the same name. Directed by David Dhawan, Coolie No. 1 also stars Sara Ali Khan in the lead role. It releases on 1st May, 2020.
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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