One of Bollywood’s most famous actors, Arjun Kapoor has had his fair share of ups and downs in the filmdom. The actor, who started out his acting career with a box-office hit like Ishaqzaade (2012), has been struggling for hits lately. His last few films, including Namastey England (2018), India’s Most Wanted (2019) and Panipat (2019), failed to strike the right chord with the audience.
The actor will soon join hands with his filmmaker father, Boney Kapoor, for a Hindi remake of super successful Tamil hit Comali (2019). The movie revolves around a man who finds it extremely challenging and difficult in adjusting with the current era after waking up from coma. Boney Kapoor has acquired the remake rights from the Tamil producers of the movie.
Apart from being a producer, Boney is also a doting father. He is always there for his children whenever they need him. Recently, the filmmaker revealed that son Arjun Kapoor wanted to enter Bollywood as a director, but it was megastar Salman Khan who suggested him to become an actor instead.
“Arjun always wanted to become a film director and that is why I had no plan to launch him, like a new hero. That was not our plan at all. But one day, I got a call from Salman saying Arjun should try his hand in acting because he has all the elements to become one. So, Salman took Arjun under his wings and groomed him. Unfortunately, my relationship with Salman is strained now, but initially Salman encouraged Arjun to get into acting. I owe this to Salman,” said the filmmaker.
Meanwhile, Arjun Kapoor is shooting for his upcoming film with Rakul Preet Singh. The untitled movie is bankrolled by Bhushan Kumar of T-Series Films, while debut director Kaashvie Nair is calling the shots.
Keep visiting this space for more information from the world of Bollywood.
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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