British actor, comedian and television presenter Sanjeev Bhaskar, who is best known for his work in the BBC Two sketch comedy series Goodness Gracious Me and as the star of the sitcom The Kumars at No. 42, has said he feels comedy can be a “powerful” way to explore social and political topics, as it can offer perspective, rather than debates that become “political and weaponised”.
“There are two elements to humour that I think are incredibly powerful and one is for yourself, which is that humour and irony gives you instant perspective,” he told a newswire. “Something that’s scaring you, that fear which will overwhelm you, is just a fearful thing, it’s a horrible thing. But if you can do it from a different angle, it can be ridiculous and it can be silly. It doesn’t make it not scary, or not horrible, but you suddenly got perspective because that’s not the only thing it is anymore.”
He further said, “The other thing with expressing these things through humour is that it suddenly becomes palatable in a way that a direct truth may still be frightening and it still may be scary, that you can dress it up in slightly nicer clothes.”
Bhaskar also opened up about experiencing racist bullying while growing up and how it had an effect on his self-worth but he feels debating topics like this has gone “a bit awry”. “The fact that racism, sexism and ableism is now discussed, I think, is a good thing because there can be debate. The counter to that is, I think the debate has gone a bit awry and so now all debates are suddenly political and weaponised. And I think one of the problems that seems to have emerged is a lack of compassion and generosity towards other people being able to make mistakes. Now, if you admit to a mistake, especially on social media, which is no great barometer of anything, you’re castigated for it and ridiculed and mocked and insulted. I mean, we’re all human beings, everybody makes mistakes, that’s how we learn, that’s how the human race has evolved. And yet there seems to be this lack of compassion and generosity and grace towards anybody else being able to make a mistake and improve,” he added.
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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