Vikram Gokhale's health showing 'steady improvement,' likely to be off ventilator support soon
On Thursday, a rumour about the veteran’s death surfaced on social media following which several Bollywood celebrities including Ajay Devgn and Riteish Deshmukh took to Twitter to express condolences.
Veteran actor Vikram Gokhale, who has been hospitalised for the last few days, is now showing slow but steady improvement, following which he will likely be off the ventilator support in 48 hours.
PRO Shirish Yadgikar, Deenanath Mangeshkar Hospital, updated about the veteran actor's condition. "Actor Vikram Gokhle's health is improving, is showing slow but steady improvement. He is opening his eyes, moving his limbs, and likely to be off ventilator support in the next 48 hours. His BP and heart are stable." Gokhale has been in a hospital in Pune for some time now and is on a life support system.
In the early hours of Thursday, a rumour about veteran's surfaced on social media following which several Bollywood celebrities including Ajay Devgn, Riteish Deshmukh, Aly Goni, and Jaaved Jaafery among others, took to Twitter to express condolences.
Dr Dhananjay Kelkar, from Deenanth Mangeshkar Hospital where presently he is undergoing treatment, denied the rumours of the passing away of the veteran actor and said, "Not true."
Gokhale's daughter, on the other hand, told ANI, "He is still critical and on life support and has not passed yet. Keep praying for him."
The actor made his film made his debut at the age of 26 in 1971 in Amitabh Bachchan-starrer Parwana'. Over a career spanning more than 40 years, Gokhale has appeared in various Marathi and Bollywood films, including 'Agneepath,' starring Amitabh Bachchan in 1990, and 'Hum Dil De Chuke Sanam,' with Salman Khan and Aishwarya Rai Bachchan in 1999.
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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