Bollywood actress Dia Mirza has teamed up with Hollywood star Edward Norton for a documentary series Restore: Films From the Frontiers of Hope for the United Nations Environment Programme (UNEP).
The actress, who is the Goodwill Ambassador for UNEP, and the UN Secretary General's Advocate for Sustainable Development Goals, has narrated "Big Ocean States" as part of the documentary. It is a story about how countries such as St. Lucia, Comoros, and Vanuatu teamed up to overturn severe environmental threats.
Mirza, 41, said she is honoured to be associated with the series that talks about how marine life can be protected.
"It was an absolute honour to be a part of this global project and tell the story of St. Lucia, Comoros, and Vanuatu that are showing by example how marine ecosystems can be protected for the benefit of all stakeholders and the creation of a blue economy," the actor said in a statement.
Mirza, who recently starred in Bheed, said citizens and the younger generation need to come together to tackle climate crises.
"What moved me most about this story is that the citizens took ownership of the dying mangroves and the dwindling marine life and came together to ensure that the future generation would have a sustainable, thriving environment," she added.
As per the press note, the project is an attempt to amplify stories from 10 places around the globe where people have made a positive impact on the environmental crisis.
Under the aegis of the 'UN Decade on Ecosystem Restoration', the first 10 chapters or 'UN World Restoration Flagships', explore the diverse ecosystems of Indonesia, Abu Dhabi, and Kazakhstan, among others. The series also has an episode on River Ganga, featuring the stories of farmers, wildlife advocates, and government experts who are teaming up to save the holy river.
A new episode is released every Monday by UNEP, featuring a new challenge overcome by people who, beyond everything else, want a better future for the next generation
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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