Angelina Jolie and Brad Pitt's son recovering after bike accident
Pax reportedly was not wearing a helmet at the time of the accident
By Eastern EyeJul 31, 2024
FORMER Hollywood power couple Angelina Jolie and Brad Pitt's son, Pax Jolie-Pitt, was hospitalised on Monday (29) after suffering a head injury in an accident.
The 20-year-old is reportedly in stable condition and is expected to be discharged on Tuesday (31), according to law enforcement sources cited by TMZ.
Pax was driving down Los Feliz Boulevard in Los Angeles, California around 5pm on Monday on his electric bike when he crashed into the back of a car. He reportedly was not wearing a helmet at the time of the accident, the insider added.
After he complained of a head injury and hip pain, Pax was taken to a nearby hospital.
Doctors initially suspected a minor brain bleed, the publication reported, adding the full extent of his injuries was unclear at the time.
Sources told TMZ that Pax was nearing an intersection when he hit his bike into a car, which was stationary at a red light. The other driver reportedly got out of the vehicle to check on him before emergency services arrived.
Pax is one of the six children whom Jolie, 49, and Pitt, 60, share. The former couple are also parents to Maddox, 22, Zahara, 19, Shiloh, 18, and twins Knox and Vivienne, 16.
Jolie and Pitt, who were declared divorced in April 2019, adopted all their children except Shiloh and Knox and Vivienne.
In recent years, Jolie and the kids have had an estranged relationship with Pitt after she levelled allegations of physical abuse against him. She filed for divorce in 2016 after two years of marriage and 12 years of relationship.
Pitt has denied the claims, and the FBI declined to file any charges against him. (PTI)
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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