The ongoing Coronavirus pandemic, which has adversely affected every industry in the world, might change how Bollywood plans its release calendar in the near future. After Gulabo Sitabo, which is scheduled for its direct-to-digital release on 12th June on Amazon Prime Video, we see a number of other production houses and makers are following suit and opting for digital premieres for their movies which were originally planned for a theatrical release like never before.
The latest film which may release directly on OTT is the much-awaited film Laxmmi Bomb, starring superstar Akshay Kumar and Kiara Advani in lead roles. If reports are to be believed, the horror-comedy has been acquired by Hotstar Specials for a humongous ₹125 crore. It was originally slated to enter theatres on Eid 2020.
“It is true that the film will now be premiering on Hotstar. Although there was a bit of disagreement initially, everyone is on the same page now. The movie will indeed be releasing online,” a source in the know informs an entertainment portal.
An official statement announcing the digital premiere of Laxmmi Bomb is expected to arrive soon. “The team needs a month to prepare the project. A bit of post-production work remains and they are waiting for the lockdown to get over. So the film won’t hit the OTT platforms at least till a month after the lockdown is lifted. So the release date is not decided yet,” adds the source.
If Laxmmi Bomb has indeed been sold for a massive ₹125 crore, it is already in the profitable zone. The source says before signing off, “Laxmmi Bomb has been sold for a staggering ₹125 crore. But while the number is huge considering digital rates, what one must not forget is that it had the potential of earning over ₹200 crore at the box office, despite a clash with Salman Khan’s Radhe. So the total revenue that the team will make out of it, is much less.”
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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