Most recently seen in Red Chillies Entertainment’s web-series Bard of Blood (2019), which premiered on Netflix, Bollywood star Emraan Hashmi has a number of projects on his plate. He is currently shooting for filmmaker Sanjay Gupta’s next directorial Mumbai Saga with John Abraham and Kajal Agarwal. He has also wrapped up his much-awaited film, Chehre, with megastar Amitabh Bachchan.
Before starting work on the aforementioned projects, Emraan Hashmi had shot for a suspense thriller titled The Body. Directed by well-known Malayalam filmmaker Jeethu Joseph, the movie is inspired by the blockbuster Spanish thriller El Cuerpo (2012). It revolves around a police officer who is searching for a dead body gone missing from a morgue. Besides Emraan Hashmi, the mystery thriller also features Rishi Kapoor, Sobhita Dhulipala and Vedhika on its star cast.
Today, the makers announced the official release date of the film. The Body will be entering theatres on 13th December, 2019. Apart from announcing the release date, the makers also unveiled the official poster of the film wherein blood can be seen spilling on a floor from a wine glass. "This December, join the search to find The Body. Unravel the mystery on Friday the 13th," Emraan wrote on Instagram.
Apparently, the makers were earlier planning to release the film in June. However, the project had to be postponed as director Jeethu Joseph was busy with his other directorial commitments down South. Emraan was also shooting for Chehre with Amitabh Bachchan, and Rishi Kapoor, who plays an investigative officer in the film, was in New York for treatment, so it was not possible for all to take out time for its promotion in June.
The Body is produced by Azure Entertainment and Viacom18 Motion Pictures.
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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