Bollywood's answer to Pirates of the Caribbean, the swashbuckling, star-studded Thugs of Hindostan sails into cinemas on Thursday (8), battling British colonisers on a quest for loot and box office records.
This year's big release for India's Diwali festival, the seafaring song-and-dance fest with superstars Aamir Khan and Amitabh Bachchan cost $42 million, making it the most expensive movie to date in the Hindi-language industry.
Filmed in India, Thailand and off the coast of Malta, it brings together for the first time Bachchan and Khan, two of Bollywood's most bankable stars, in battles against the British East India Company in 1795, and with stunts and pyrotechnics galore.
With his witty one-liners, maverick persona and tousled hair, Khan's character bears a strong resemblance to Johnny Depp's lovable pirate rogue Jack Sparrow, and the movie has a strong whiff of the Pirates series.
"But story-wise, there is no similarity between the two films," Khan, 53, insisted at a recent news conference in Mumbai.
His previous films including Dangal, Dhoom 3 and Secret Superstar have broken box office records and amassed millions across India and beyond, including in China.
Directed by Vijay Krishna Acharya, Thugs also stars actresses Katrina Kaif and Fatima Sana Shaikh and all the cast underwent rigorous action training to dodge bullets, leap off burning ships in preparation for their battles with British soldiers.
Trade analysts believe it will break records and take in more than a one billion rupees ($15 million) over the long Diwali weekend, a highly auspicious time for India's majority Hindu population.
"The move has hype, hysteria, scale and stars some of the biggest Indian superstars and has a holiday weekend to do humongous business," analyst Akshaye Rathi told AFP.
"It will easily be one of Hindi film industry's highest grossers with Aamir and Amitabh's star power and will set new records," Rathi added.
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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