Pakistan skipper Babar Azam smashed 196 and Mohammad Rizwan 104 not out to deny Australia victory on Wednesday and force a dramatic draw in the second Test in Karachi.
The Australians had sniffed victory on their first tour of the country in nearly a quarter of a century, but Azam and Rizwan put in record-breaking performances to ensure the series will go to a meaningful third and final Test starting Monday after the first also ended in a draw last week.
The Pakistan pair looked to be safely steering the home team to a draw, but spinner Nathan Lyon turned the match on its head by dismissing Azam and then Faheem Ashraf with successive deliveries.
Set a daunting 506-run target, Pakistan finished on 443-7 after being bundled out for 148 in their first innings. Australia made 556-9 declared in their first innings and, after deciding not to enforce the follow-on, declared their second at 97-2.
Lyon came on to bowl the third of the 15 remaining overs of the match, and with his fourth delivery had Azam glove a catch to Marnus Labuschagne at forward short-leg.
Next ball Lyon had Ashraf caught at slip to raise hopes of an Australian win.
The late-hour drama also saw Usman Khawaja drop Rizwan on 91 off luckless spinner Mitchell Swepson with 18 balls left in the match.
The pugnacious Rizwan, in the company of tailender Nauman Ali (nought), batted out 46 balls during their 29-run stand for the eighth wicket to keep the three-match series tied at 0-0.
Azam's marathon knock of ten hours and seven minutes is the second-longest in the fourth innings of a Test, behind Michael Atherton's vigil of 185 not out that lasted 643 minutes and helped England secure a draw against South Africa in the 1995 Johannesburg Test.
"This innings means a lot to me and to my team," said Azam of what is his best-ever Test score.
"The plan was always to try and survive, and even towards the end there were no serious discussions about chasing it."
The knock is the best-ever fourth-innings score by a captain, surpassing Atherton's South Africa knock.
It now stands as the highest fourth-innings total by a Pakistani, erasing the 171 not out Younis Khan made against Sri Lanka in Pallekele in 2015.
Australian skipper Pat Cummins rued missed chances.
"Probably just didn't grab the couple half-chances that were presented to us," he said, adding: "But a great five days of Test cricket."
Azam added an invaluable 228 runs for the third wicket with Abdullah Shafique (96) and another 115 for the fifth with Rizwan, keeping Australia's spin-cum-pace attack at bay.
With Pakistan falling 63 short of the 506-run target, the record for the highest chase in all Test cricket remains with the West Indies, who scored 418 against Australia at Antigua in 2003.
Azam's knock frustrated Australia and skipper Cummins, who dismissed Shafique and Fawad Alam (nine) in the first two sessions to raise hopes of a win.
But Australia were themselves to blame for not dislodging Azam as Travis Head and then Labuschagne dropped sharp catches off Swepson in successive deliveries with the batsman on 161.
The Pakistan captain also survived a confident leg-before appeal against spinner Lyon when on 157, but it turned out to be umpire Aleem Dar's call on review.
Lyon was the best Australian bowler with 4-112 off a marathon 55 overs.
Australia haven't played in Pakistan since 1998, having declined to tour since then on security grounds.
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 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,” 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? 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. It’s 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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