After facing an inordinate delay in its release, Yash Raj Films’ much-awaited thriller Sandeep Aur Pinky Faraar (SAPF) is finally set to enter theatres on March 19. But before that, the team has decided to unveil a new trailer tomorrow which will give more glimpses into the world of the crime thriller.
Filmmaker Dibakar Banerjee says, “SAPF has taken so long to come to the screen that it has become my other Khosla (Ka Ghosla, 2006). Audiences and filmmakers all over the world have had an eventful past year. It's only when something is taken away from us do we realise the true value of it.”
He goes on to add, “I wanted SAPF to be a film that couples, families, gangs of friends would watch in the theatres and then go out for dinner to argue about it! Now, that we will be one of the first films to open theatrically I am waiting to watch if that happens or the audience passes the genre-bending and independent-minded to go for the summer blockbusters that are waiting for us to be the cannon fodder and then come in and wave their victory flags!”
Sandeep Aur Pinky Faraar stars Arjun Kapoor and Parineeti Chopra in lead roles. The film was originally slated to release in 2020. However, the makers had to push its release due to the Coronavirus-induced lockdown.
Now that theatres in India have resumed operations at full capacity, Banerjee is hopeful that the film will entertain audiences as they return to normalcy after living a year in lockdown. “We are the only film in history perhaps to run a trailer for a year before the release! But there is a second trailer for those who want fresh insights into the crazy adventures of Sandy and Pinky. And I still want couples, families, and friends fighting about whose film it was - Sandy and Pinky - with masks on - at a theatre next door. I want all of us to be safe, be entertained, and reclaim a bit of our lost lives - like Sandy and Pinky in the film.”
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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