There was a rumour floating about the social media and also within a section of the industry that Salman Khan’s hugely anticipated film Radhe: Your Most Wanted was set to move off to a later date, skipping its much-publicised release on May 13, on the auspicious occasion of Eid.
However, ZEE Studios has said that there is not a vestige of truth in the rumour and that the film will release on its scheduled date.
Shariq Patel, Chief Business Officer, ZEE Studios, told a publication, “The wait is almost over for Salman Khan’s fans and as promised, we are bringing Radhe: Your Most Wanted Bhai on 13th May. We have been witnessing overwhelming engagement on social media ever since the announcement of the date. ‘Seeti Maar’ became an instant hit with the fastest 100 million views. It will be the first Bollywood movie to simultaneously release in multiple formats worldwide. With this step, we are setting a new precedent for the industry.”
Apart from Salman Khan, Radhe: Your Most Wanted Bhai also stars Disha Patani, Randeep Hooda, and Jackie Shroff in important roles. The film is set to have a hybrid release, which means it will release in theatres as well as on Zee Plex as premium video on demand, and digitally through ZEE5.
An insider told the same publication, “There is no way Radhe: Your Most Wanted Bhai could have got postponed at this juncture. The advance booking has begun in the UAE already. Agreed that the situation is alarming in the country but then this is the time when we need a big-budget entertainer to distract us and give us reasons to smile and cheer. Also, many would not be able to go out and meet their friends and relatives on the occasion of Eid, for the second consecutive year. They will celebrate by watching Radhe: Your Most Wanted Bhai with their families.”
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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