Starring Varun Dhawan and Sara Ali Khan in principal roles, Coolie No. 1 is one of the most-awaited films of 2020. Helmed by veteran filmmaker David Dhawan and produced by Vashu Bhagnani, the comic-caper was originally slated to hit cinemas on 1st May, 2020. However, the makers had to drop their plans of releasing the film in theatres due to the Coronavirus pandemic.
While many filmmakers opted for a direct-to-digital release for their ready projects, producer Vashu Bhagnani decided to wait for the reopening of theatres. But the way the number of Coronavirus cases is shooting up in India, no one knows exactly when will theatres resume operations across the country. Recently, the news came out that Coolie No. 1 is also heading to an OTT platform for its release.
A trade source informs an entertainment portal that Bhagnani was ready to wait for a couple of months more to ensure a theatrical release for Coolie No. 1, however, he was forced to opt for an OTT release instead. “Vashu Bhagnani was very keen that the remake of his production Coolie No. 1 release on the big screen. In fact, he was prepared to wait till theatres resumed business as normal and even organized a video conference with theatres/multiplex owners to display his interest in a theatrical release. This video conference was not only to inform theatre owners of his plan for a theatrical release but was also to settle release details, like show timings, number of shows, and other such exhibition parameters.”
Reportedly, theatre owners had no apprehension about Bhagnani’s plans and were even ready to provide him the sole right to plan the exhibition of his venture Coolie No. 1, but things did not fall into place when the producer requested a change in the parameters of OTT release. “Pre COVID-19 theatre owners would decide the number of shows and timing for any release, and filmmakers had little choice in this. Though filmmakers would request the exhibition to be done in a certain way, the final call was that of the theatre owners. Now for Bhagnani, the theatre owners were ready to relent on this, but it was Bhagnani’s next request that did not go down well with the theatre owners. Conventionally a film releases on OTT or satellite networks 60 days after its theatrical release. But given the current scenario, Bhagnani requested the theatre owners that this rule be dropped. Instead, Bhagnani requested that if footfalls in theatres did not pick up over a four-week period, he be granted the liberty to opt for an OTT release earlier.”
In addition to this, Bhagnani had one more demand which was shot down by theatre owners, which ultimately led the filmmaker to opt for an OTT release. “Bhagnani’s Coolie No. 1 was ready a while back. Now keeping an already complete film without a release is a heavy financial burden given the interest on investment, and Bhagnani wanted the theatre owners to compensate him for this financial investment. He was of the opinion that since he was concerned about the theatre owners, they should in-turn be looking out for his welfare. In fact, he even asked the theatre owners to acquire the distribution rights of Coolie No. 1 or to ensure that a part of the expense on the interest was born by them. The theatre owners rejected this and instead offered a different deal wherein consumers would get certain add-ons when purchasing tickets of Coolie No. 1, to sweeten their movie-going experience, but Bhagnani was not too happy about this.”
News has it that Coolie No. 1 will premiere on Diwali on Amazon Prime Video.
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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