Baahubali: The Beginning (2015) and Baahubali: The Conclusion (2017) changed the way the world looked at Indian cinema. Its riotous success catapulted Prabhas and Rana Daggubati to global fame and established SS Rajamouli as one of the most celebrated filmmakers in the world.
Apart from Prabhas and Rana Daggubati, one actor we cannot imagine the world of Baahubali without is Ramya Krishnan, who played the iconic character of Sivagami and received widespread acclaim for her power-packed performance in the franchise.
Right after the grand success of Baahubali: The Conclusion in 2017, leading streaming media giant Netflix announced its plans to bankroll a prequel to Baahubali: The Beginning, tracing the life and unprecedented rise of Sivagami as the royal queen of Mahishmati. Mrunal Thakur of Super 30 (2019) fame came onboard to play the young Sivagami in the high-profile project.
Shooting for the Netflix project had begun but the project got scrapped mid-way. “The makers were not happy with the way the film was shaping up. They shot almost 70% of the film and decided to scrap it completely as they did not want to compromise on the quality," a source in the know informs a publication.
The latest we hear that Netflix is now putting the whole project back together with a new cast. If reports are to be believed, popular Punjabi actress Wamiqa Gabbi has been roped in to replace Mrunal Thakur as Sivagami.
"Mrunal does not have any more dates to shoot the whole thing again. So, the team have now got Punjabi actress Wamiqa Gabbi who also played a few smaller parts in Hindi films like Jab We Met (2007), Mausam (2011) and Love Aaj Kal (2009). They have already chalked out a plan and the series will be in place by the year-end,” concludes the source.
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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