Aravind Adiga was awarded the prestigious Booker Prize in 2008 for his novel The White Tiger. This book dealt with the dark humorous perspective of India’s class struggle in a globalised world – this novel made Adiga the second youngest author to win the award. Adiga was born in India and later emigrated from the country to Australia. He graduated from Columbia University in New York, and later returned to Mumbai where he lives currently.
Anita Desai
Anita Desai is an Indian novelist and Professor of Humanities at the Massachusetts Institute of Technology. As a writer, she has been shortlisted for the Booker Prize three times. She received a Sahitya Akademi Award in 1978 for her novel Fire on the Mountain, from the Sahitya Akademi, India's National Academy of Letters. She won the British Guardian Prize for The Village by the Sea.
3. Arundhati Roy
Arundhati Roy full nameSuzanna Arundhati Roy is an Indian author best known for her novel The God of Small Things, which won the Man Booker Prize for Fiction in 1997 and became the biggest-selling book by a non-expatriate Indian author. She is also a political activist involved in human rights and environmental causes.
4. Amitav Ghosh
Amitav Ghosh is an Indian writer best known for his work in English fiction. He was shortlisted for the Man Booker Prize for his 6th novel, Sea of Poppies. This book is the first of his Ibis trilogy, set before the Opium Wars in the 1830’s. He was awarded the Padma Shri by the Indian government in 2007.
5. Jeet Thayil
Jeet Thayil is an Indian poet, novelist, librettist and musician. His first novel, Narcopolis, which won the DSC Prize for South Asian Literature, was also shortlisted for the 2012 Man Booker Prize and the Hindu Literary Prize. The book dealt with - Bombay of 1970’s, it is a tale of a man’s journey in and out of the intoxication of opium. This novel, which took him five years to write, and it is about his own experiences as a drug addict.
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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