Ends by Ahir Shah review: Marvellous mixture of comedy and important life lessons
The stand-up comedian touched on diverse subjects, which ranged from colonial history and the struggles of immigrants to Rishi Sunak and his own impending marriage
By Asjad NazirNov 03, 2023
AHIR SHAH performed his Edinburgh Fringe-winning show Ends in front of a packed crowd at Soho Theatre in central London.
Most didn’t realise that the comedian was walking among them and pumping himself up to perform, with a classic qawwali from Ustad Nusrat Fateh Ali Khan playing loudly in the venue. When that anonymous figure finally took to the stage, he filled it up like a tornado sweeping in with a high energy set powered by a machine gun style delivery.
The stand-up comedian touched on diverse subjects, which ranged from colonial history and the struggles of immigrants to Rishi Sunak, his own impending marriage, family, finding the hilarious Arabic meaning of his own name and the destruction caused by the current government. But the giant beating heart was the story of his late grandfather who left India to build a new life for his young family in the UK.
But this was no ordinary stand-up comedy performance that was filled with jokes from start to finish, but something a lot deeper. While there was plenty of laughter, the skilled orator injected real emotion into the story of his grandparents and related it to what is happening today.
The great comedy set mixed up laughter, with deeply affecting silences, which obviously impacted the mostly non-Asian audience, including Shah retelling the story of the Jallianwala Bagh massacre and colonial atrocities committed in the aftermath that are not widely known about.
Audiences who came for the comedy, got laughter with jokes that peppered his set, but they also saw a master storyteller share hidden moments from history filled with important life lessons. All of this demonstrated just why it was named best show at this year’s Edinburgh Fringe.
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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