More than 2,000 years ago, a powerful king built a fort on the banks of India’s holiest river, on the fringes of what is now a vast industrial city.
Today, little of the ancient construction remains, except for mounds of rubble that tannery workers pick through for bricks to build shanties atop what was once the fortress of the great King Yayati.
And Kanpur, where Yayati built his fort, is a city known for its leather tanneries and the relentless pollution they pump into the Ganges River.
For more than 1,700 miles, from the Gangotri Glacier in the Himalayas to the Bay of Bengal, the Ganges flows across the plains like a timeline of India’s past, nourishing an extraordinary wealth of life. It has seen empires rise and fall. It has seen too many wars, countless kings, British colonials, independence and the rise of Hindu nationalism as a political movement.
In India, the Ganges is far more than just a river. It is religion, industry, farming and politics. It is a source of water for millions of people, and an immense septic system that endures millions of gallons of raw sewage.
To Hindus, the Ganges is “Ganga Ma” — Mother Ganges — and a center of spiritual life for more than a billion people. Every year, millions of Hindus make pilgrimages to the temples and shrines along its shores. To drink from it is auspicious. For many Hindus, life is incomplete without bathing in it at least once in their lifetime, to wash away theirs sins.
But all is not well with the Ganges.
Pollution has left large sections of it dangerous to drink. Criminal gangs illegally mine sand from its banks to feed India’s relentless appetite for concrete. Hydroelectric dams along the river’s tributaries, needed to power India’s growing economy, have infuriated some Hindus, who say the sanctity of the river has been compromised.
And over the past 40-some years, the Gangotri Glacier — source of almost half the Ganges' water —has been receding at an increasingly frightening pace, now losing about 22 meters (yards) per year.
For millennia, the Gangotri’s glacial melt water has ensured the arid plains get enough water, even during the driest months. The rest comes from Himalayan tributaries that flow from the colossal chain of mountains.
As the Ganges flows across the plains, its once clean and mineral-rich water begins collecting the toxic waste from the millions of people who depend on it, becoming one of the most polluted rivers in the world. Millions of liters (gallons) of sewage, along with heavy metals, agricultural pesticides, human bodies and animal carcasses, are dumped into the Ganges every day.
At times, officials try to fix things but vast stretches of it remain dangerously unhealthy.
Still, to Hindus, the river remains religiously pure.
Every year, tens of thousands of Hindus bring the bodies of their loved ones to be cremated at the Ganges, in the city of Varanasi. A Hindu who dies in the city, or is cremated alongside it, is also freed from that cycle of birth and death.
After Varanasi, the Ganges continues its eastward journey through endless farmland as it nears the coast, eventually splitting off into ever-smaller rivers in the great wilderness of her delta. The biggest river, the Hooghly, heads south towards the sea, passing through Kolkata, the largest city in eastern India. Once the capital of the British raj, known as Calcutta, today the seething metropolis is home to nearly 15 million people.
Eventually, its waters spill into the Bay of Bengal.
Up near the Gangotri glacier, a genial Hindu holy man who goes by the name Mouni Baba and spends much of his life in silent meditation sees all of mankind reflected in the river.
“Human existence is like this ice,” he said. “It melts and becomes water and then merges into a stream. The stream goes into a tributary which flows into a river and then it all ends up in an ocean. Some (rivers) remain pure while others collect dirt along the way. Some (people) help mankind and some become the cause of its devastation.”
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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