The school is the brainchild of Inderjit Khurana, a school teacher, who used to commute by train to work decided to educate kids begging on the platforms and streets. Initially, she would teach children on the platform by writing with chalk on the ground. Her dreams came true in 1985 after she established Ruchika Social Service Organisation that works to provide shelters and medical care for abandoned children and train young adults for basic jobs. Khurana began her project with just one school, but more than 4,000 students are being educated around India through the program.
2. The Makoko Floating School, Nigeria
The Makoko floating school comprises alternative sustainable buildings and structures designed to adapt to the resident communities' aquatic lifestyle. In 2013, a Nigerian architect, Kunlé Adeyemi of NLÉ proposed to transform the water slum status of the Makoko waterfront community to a floating island by creating a functional building prototype. The classrooms are also surrounded by spatial public greenery. There is a playground below the classroom while the roof contains an additional open-air classroom.
3. World's Greenest School, Indonesia
This is the greenest school in the world with classes being held inside a huge bamboo and straw hut. The campus is built using sustainable natural material and is powered by more than 100 solar panels. The school was founded in 2006 by Canadian John Hardy, a former jewellery maker who arrived on the paradise island in 1975. It has nearly 300 students aged 6-18, enrolled from over 45 different countries.
4. Dong Zhong: The Cave School, China
Dong Zhong, built by nature and discovered in 1984, was located in one of China’s poorest areas, Mao village in Ziyun County. It offered to educate kids who didn't have any access to education. In 2011, this school was shut down by the Chinese government after they declared that the country is not 'a society of cavemen’. Nothing has been done to make the situation better but until 2011, this unique primary school operated with 8 teachers educating 186 students.
5. The Gender-Neutral School, Sweden
This school has no concept of a 'he' or a 'she'. All the kids are treated equally and referred to as 'they'. They also put a lot of emphasis on mental health and fighting stereotypes. The teachers avoid using the pronouns "him" and "her" when talking to the children. Instead, they refer to them as "friends", by their first names, or as "hen" - a genderless pronoun borrowed from Finnish.
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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