After finishing the month-long schedule in Serbia, Tiger Shroff and Shraddha Kapoor have started shooting for the third schedule of their much-awaited film Baaghi 3. As the title aptly suggests, Baaghi 3 is the third instalment of the super successful action franchise Baaghi (2016), headlined by Tiger Shroff.
The team has kick-started the last schedule of the movie in Jaipur. In the ongoing eight-day long schedule, director Ahmed Khan will shoot several important sequences on the streets. Since Tiger Shroff is shooting on live locations, his fans keep thronging around in droves.
“One day, the shoot had to be delayed by two hours as a large crowd had gathered around the location to see Tiger. In the next few days, he will be shooting for a high-octane action sequence in the desert. He has already shot for other major action sequences in Serbia, including at places like Pancevo, Pozarevac and Kovin. Tiger and Shraddha will also be shooting for a peppy dance number during this schedule. She will be there for three days,” a source close to the development informs a tabloid.
As per the source, Ankita Lokhande, who plays the elder sister of Shraddha Kapoor, and Riteish Deshmukh will also be part of the ongoing schedule in the Pink City. “Ankita will also be a part of this schedule. There is an emotional sequence between Tiger and Riteish on the cards. Meanwhile, Ahmed has begun work on the post-production simultaneously,” the source says in conclusion.
Produced by well-known filmmaker Sajid Nadiadwala under the banner of Nadiadwala Grandson Entertainment, Baaghi 3 is scheduled to arrive in cinemas on 6th March, 2020. Fox Star Studios will distribute the film.
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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