Aishwarya was Miss World in 1994, after entering Miss India pageant, finishing in the second place. After winning the title she went to work for beauty with purpose role helping out the underprivileged children. In 2009 she became the Goodwill Ambassador of Smile Train, which provides free cleft lip and palate surgery to children in need, which focuses on 77 countries worldwide. She is also an ambassador for UNAIDS. In 2014, Aishwarya was awarded with Lifetime Beauty with Purpose Award for her constant hard work for over twenty years.
Priyanka Chopra
Priyanka was the last winner of India for Miss World until 2017. She’s been working with UNICEF since 2006 and in 2010 she became the goodwill ambassador for UNICEF child rights. In 2017, Priyanka was awarded with Mother Teresa Memorial Award for Social Justice for her input towards social causes.
Sushmita Sen
Sushmita is the first Indian to win Miss Universe in 1994. Sushmita was also awarded with Mother Teresa Memorial Award for Social Justice in 2013 for her contribution towards of social work.
Dia Mirza
Dia won the title of Miss Asia Pacific 2000 after 27 years since an Indian won the title. She’s been involved with Cancer Patients Aid Association and Spastics Society of India. She is also part of the board of the Coca-Cola foundation that works for rural parts of India. She’s an ambassador for Save The Children India. In 2017, on World Environment Day, she was appointed as the brand ambassador for Wildlife Trust of India.
Lara Dutta
Lara is the winner of Miss Universe 2000. She was not only just crowned Miss Universe but also the one who scored the highest marks in the history of beauty pageant contest, scoring 9.99 by almost all judges. There has been no contestant from India won Miss Universe yet. In 2001, she was selected as the UNFPA Goodwill Ambassador.
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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