ZEE5's new Telugu Original 'Maya Bazaar for Sale' to debut in July
The series features an ensemble cast of Navdeep Pallapolu, Eesha Rebba, Naresh Vijaya Krishna, Hari Teja, Jhansi Laxmi, Meiyang Chang, Sunaina, and Kota Srinivas Rao among others.
Streamer ZEE5 on Wednesday announced a new Telugu show Maya Bazaar for Sale, a satirical drama revolving around families in a premium gated community.
The seven-episode show, which will debut on ZEE5 on July 14, is developed in association with actor Rana Daggubati’s production banner Spirit Media. It hails from writer and director Gautami Challagulla and is produced by Rajeev Ranjan.
The series features an ensemble cast of Navdeep Pallapolu, Eesha Rebba, Naresh Vijaya Krishna, Hari Teja, Jhansi Laxmi, Meiyang Chang, Sunaina, and Kota Srinivas Rao among others.
Maya Bazaar for Sale chronicles the story of families, namely, the Pastry’s, Gandhi’s, the Hippies, the Bachelors, and the Lovey-Dovey couple who move into premium villas in a gated community called ‘Maya Bazaar’, a press release stated.
"Their expectations of a prime and peaceful lifestyle are bulldozed by the government’s declaration of the construction as illegal. Maya Bazaar for Sale envelopes the events that follow in the personal lives and the community living of the characters post this tragedy," the official plotline read.
Manish Kalra, Chief Business Officer at ZEE5, said the show presents yet another interesting narrative to the audience.
"The show aims at normalising unconventional ideas with light-hearted comedy. At ZEE5, we take pride in collaborating with storytellers to acquire diverse and socially relevant content that is sure to entertain the audience," Kalra said in a statement.
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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