When Australian cricket fan Luke Gillian last visited Pakistan in 1998, home supporters threw stones at him when he ventured out in public.
These days everyone wants a selfie.
Gillian is back in Pakistan with a small contingent of Australian fans on their first tour of the country in nearly a quarter of a century -- and has been blown away by the welcome they have received.
Australia for 24 years, along with many international teams, declined to tour Pakistan on security grounds.
The situation became worse after a fatal terror attack on the Sri Lanka team bus in Lahore in 2009, after which Pakistan had to play "home" games abroad for a decade, mostly in the United Arab Emirates.
But the cricket-mad nation is lapping up the current tour by the world's top-ranked Test team, which will see the three-Test series go to a decider in Lahore next week after draws in Rawalpindi and Karachi.
"It was perceived to be too dangerous to go outside," Gillian said of his visit on Australia's last tour in 1998.
"When I did get outside there were large groups of people walking in the streets and I had rocks thrown at me.
"And I went, 'Nah, I am just going to go back home, I don't need to put up with this'."
Nearly a quarter of a century later, attitudes have changed.
"I reckon, in Rawalpindi, 500 photographs were taken of me every day, easily," the 51-year-old from Victoria told AFP.
- Piece of cake -
"I have been given I don't know how many cups of tea, how many pieces of cake, bottles of Pepsi, water and just little incidentals people have given us as a 'thank you' -- free haircuts, free laundry."
Like most Australians, Gillian took to cricket as a child.
"You grow up with cricket in your blood," he said.
"You often hold a cricket bat or a ball before you know how to walk, and as soon as you can walk, you mark your run-up to bowl."
Over the years he has visited every major cricket-playing nation -- even socialising with Australian greats such as Shane Warne, Adam Gilchrist, Michael Clarke and Justin Langer.
But those days are a thing of the past, with modern players under intense social media scrutiny, coupled with strict anti-match fixing protocols to keep players away from "undesirable" elements such as illegal bookmakers.
"Now there is a strong disconnect between myself and the team," said Gillian.
"Let's go back 15 years... I would still get text messages (from players), saying: 'We are going to go for a beer in this place after the game, if you want to join us'. It's gone and I miss it," he said.
Gillian said he decided to make this trip as much to support Pakistan's efforts to re-establish itself as a safe cricketing destination as to shout for Australia.
"I am here for the game, to show the outside world that we can actually watch cricket and travel to Pakistan and be safe, be happy and enjoy," he said.
Socially this is so much more relaxed than it was 24 years ago. It is so much easier to be here. So much easier to enjoy Pakistan.
"I think that love, and the embrace of each other and the game itself, if that goes across to the wider audience, then it can sell the great game and sell the connect between the two nations and two cultures.
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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