Sajid Nadiadwala’s upcoming production venture Tadap has been creating a great buzz even before the film went before cameras in August 2019. There are various reasons why film enthusiasts are waiting for the film’s release with bated breath, one of them being Bollywood action star Suniel Shetty’s son Ahan Shetty who is set to begin his acting career with the romantic action-drama.
Filmmaker Milan Luthria, who has previously directed such successful films as Kachche Dhaage (1999), Taxi No. 9211 (2006), Once Upon A Time In Mumbai (2010), and The Dirty Picture (2011), directs Tadap, which is being touted as his most intensely romantic film to date. Yet another reason why you should not miss the film when it hits the theatre closest to you.
What makes Tadap even more special for Suniel Shetty is the fact that his son is being launched by the same production house which has worked with him on multiple films in the past, including his second offering Waqt Hamara Hai (1993).
Sources close to producer Sajid Nadiadwala, who bankrolls Tadap under Nadiadwala Grandson Entertainment, say that Ahan Shetty seems far more assured and confident on the screen than his father was in his debut film.
“Every father wants his child to be better than him. If Ahan is better than me then I am at the moment the proudest father in the universe. He is a very hardworking, sincere boy. I was never so focused on my career at his age,” reacts Suniel Shetty.
Tadap, a remake of the Telugu film RX 100 (2018), also features Tara Sutaria, Sunil Shetty, Sikandar Kher, Sharat Saxena, and Amit Sadh. The film is poised for its theatrical release on December 3, 2021.
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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