Yami Gautam, who was last seen in Uri: The Surgical Strike (2019), is now gearing up to commence work on her next film, titled Ginny Weds Sunny. The actress is playing a Delhi girl in the movie.
Gautam did not want to follow the stereotypical way of depicting Delhiites and hence, she is trying to find different looks for her character in the movie. She wants to keep her character as subtle and real as possible and hence, the actress has been going around the markets in the National capital along with her stylist to find things that bring out the vibrant personality of her character.
Confirming the same, Yami Gautam said, “My stylist and I wanted to give a refreshing look to Ginny. The brief given to us is that her personality should reflect in her clothes. I wanted to refrain from following the clichés of styling such a character. The part resonated so much with me that I wanted her to look unique. We have used a lot of colours to bring out her vibrant personality and also found some quirky jewellery that blends well with the character.”
Besides Yami Gautam, Ginny Weds Sunny also stars critically-acclaimed actor Vikrant Massey in the lead role. The romcom is being helmed by debutant filmmaker Puneet Khanna. Vinod Bachchan is bankrolling the project under his production house Soundrya Productions.
Talking about what led her to sign the film, Yami had earlier said, “The script is very quirky and a completely unexplored space for me. I am really excited to be working with Puneet Khanna, who has been working really hard on his first directorial venture. Vikrant is an extremely talented actor and it would be really interesting to work with him on this one. And also, it is my first venture with Vinod Bachchan. Many firsts on this one and I am really looking forward to this special journey.”
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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