The cast for Virdee, the upcoming BBC crime thriller based on Bradford author AA Dhand’s book series, has been announced.
Staz Nair of Game of Thrones will lead the cast as Detective Harry Virdee, replacing Doctor Who’sSacha Dhawan due to scheduling issues. Aysha Kala joins the cast as Harry’s wife Saima Virdee.
Nina Singh is set to play Tara Virdee, Harry’s niece and a keen crime reporter, with Vikash Bhai as Harry’s brother-in-law Riaz Hyatt.
Kulvinder Ghir and Sudha Bhuchar will play Harry Virdee’s parents, Ranjit and Jyoti.
Virdee follows Detective Harry Virdee, a cop disowned by his Sikh family for marrying Saima, who is Muslim. Harry struggles with the abandonment and now with his young son, Aaron, growing up and asking questions, thinks it might be time to attempt to reunite with his family. His personal life is in chaos, but he must now hunt down a serial killer targeting the Asian community.
‘Virdee’ creator, writer, and executive producer AA Dhand says: “A truly diverse cast, with an abundance of talent but most importantly, a real passion for this show. Staz Nair brings Harry Virdee authentically to life not only with a real physical presence but also an emotional depth that instantly resonated with us all.”
On playing Harry Virdee, Staz Nair says: “It’s an absolute honour to be taking on this vibrant and complex story about assimilating culture and what we’re willing to do to protect who and what we love. This show leads with vulnerability more than any detective drama I’ve ever seen, and it’s a privilege to be bringing AA Dhand’s hope for his city to life.”
Elizabeth Berrington also joins the cast as DS Clare Conway and Danyal Ismail will play DS Amin.
The Virdee cast also includes Tomi May, Andi Jashy, Hussina Raja, Ashkay Kumar, Madiha Ansari, Jason Patel, Conor Lowson, and Rupert Procter.
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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