With the Coronavirus pandemic showing no sign of relief, Bollywood is bracing itself for a massive reshuffle in release dates of upcoming films. If the ongoing situation is anything to go by, theatres are not going to open their doors for the public anytime soon. And when theatres finally restart their business, major box-office clashes cannot be ruled out.
Sooryavanshi, which was slated to release on 24th March, was the first big-ticket Bollywood film to have postponed its release due to COVID-19 restrictions. If reports are to be believed, the cop-drama may now release on Diwali 2020.
However, Akshay Kumar’s film will not be getting a solo release because, according to reports, Varun Dhawan’s Coolie No.1 and Salman Khan’s Radhe: Your Most Wanted Bhai will also be hitting theatres on Diwali 2020.
A trade source informs a publication, “Sooryavanshi, Radhe and Coolie No. 1 are massy entertainers with action, emotion and drama — the kind of films that people enjoy watching during the biggest festival of the year.”
Adding to this, trade analyst Atul Mohan said, “Diwali is six months down the line. Hopefully, normalcy will be restored by then. It was the original festive window before Bollywood started releasing films over Eid, Christmas and Republic Day weekends. There are enough theatres to release three big movies.”
Earlier, rumours were rife that Sooryavanshi and Radhe: Your Most Wanted Bhai were eyeing a direct to digital release. But the makers of Sooryavanshi denied such plans and said that the film will be getting a theatrical release only. On the other hand, the makers of Radhe: Your Most Wanted Bhai seem to have kept the option of a digital release open provided any streamer offers them a hefty amount. An official announcement is awaited though.
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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