Biopics are in vogue in Bollywood what with several popular actors like Sidharth Malhotra, Janhvi Kapoor and Deepika Padukone having at least one such project on their platter. If all goes well, Varun Dhawan may also join the group as he is also being considered for a biopic.
According to reports, Varun Dhawan is in talks with renowned filmmaker Sriram Raghavan for a biopic on the youngest Param Vir Chakra recipient, Arun Khetarpal. Both have previously worked together on the 2015 sleeper hit, Badlapur.
As per reports, Sriram Raghavan is really keen to have Varun onboard to play Arun Khetarpal who fought during the 1971 Indo-Pak war. Dinesh Vijan, known for such hits as Hindi Medium (2017), Stree (2018) and Luka Chuppi (2019), is set to bankroll the project under Maddock Films.
“Sriram Raghavan, who has brought out a different facet to Varun’s talent with Badlapur, is extremely fond of the actor’s choices. He is currently busy finishing writing the script of his next film which happens to be a biopic. Titled Ekkis, it will be produced by Dinesh Vijan. The Gen Y star has been spotted several times at Maddock office which also was the reason why many claimed he might replace Rajkummar Rao in Stree 2. But it’s not the case. He’s being considered for this film instead,” a source in the know tells an entertainment portal.
Meanwhile, Varun Dhawan is presently busy promoting his upcoming film, Kalank. Touted as one of the biggest releases of 2019, Dharma Productions’ offering also features Sanjay Dutt, Madhuri Dixit, Alia Bhatt, Sonakshi Sinha and Aditya Roy Kapur in lead roles. Directed by Abhishek Verman, the period drama is set to hit the marquee on 17th April.
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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