A MOTHER-OF-TWO has spoken of her experience suffering from a brain haemorrhage in her 30s, as she revealed the difficulties of her recuperation.
Kavita Basi, 43, was diagnosed with a life-threatening subarachnoid haemorrhage – a sudden
bleed around the brain – in 2015. The survival rate for sufferers of the condition is only 50 per cent. It can also cause brain damage, as well as the inability to walk and partial paralysis. Due to the catastrophic physical and mental impact it can cause, Basi’s life was changed forever.
Prior to the brain trauma, Basi worked in a senior position in a global fashion company. She led a busy lifestyle, regularly travelling abroad for work assignments. However, she was conscious of her health and made efforts to practise yoga and eat well. People who usually suffer from the condition are typically heavy smokers, alcoholics, overweight or have high blood pressure.
Basi was none of that.
When she returned home from work on the evening of March 17, 2015 with a headache, Basi admitted that she thought it was nothing of concern. It was her daughter’s 15th birthday the following day and she was due to fly to Ireland for work, so Basi busied herself wrapping gifts and preparing for her trip.
“Even though I wasn’t feeling well, I was still doing my everyday thing,” she told Eastern Eye. “I took painkillers and got on with it.”
It was only when she went to bed that horror struck – Basi awoke around midnight with a
“horrendous” pain in her head. She shook her husband Deepak awake, telling him that something was wrong. “It felt as though a sledgehammer had gone through my head,”
Basi said.
She began to run desperately around the bedroom, before collapsing to the floor. She had a seizure and began to foam from the mouth. Basi was taken to the local hospital before being transferred to Salford Royal Hospital, where she was formally diagnosed with a subarachnoid haemorrhage.
Thereafter, she spent seven weeks in hospital. The memory of her time in hospital and the night in question is blurry. “I lost my memory a few weeks before the haemorrhage and around five weeks on my time in hospital,” she recalled. “While I was in hospital, I used to wake up every morning and not remember what had happened.”
Even after leaving hospital, her two-year recovery process was gruelling. Basi was unable to do anything independently and relied on her husband for support. She could not walk, watch television, listen to music, use her phone or care for her family. “When I did start moving around, I would still struggle. I would be sitting at the dining table for dinner and I’d be vomiting five or six times while we were eating,” she recalled. “It wasn’t pleasant for my kids to see me like that.”
Basi’s two children – Jasmine and Jay – have taken her brain injury differently. Jay was too young to understand, but Jasmine saw first-hand what had happened to her mother. The teenager suffered from nightmares for weeks after the injury. Now 19, Jasmine still struggles to speak about her mother’s condition, Basi said. “When I speak at public events regarding my experiences, she doesn’t want to attend as she finds it hard to relive those moments. It has impacted her more than it did my son.
Despite the challenges, six months after she left hospital Basi returned to work part-time before changing to a full-time schedule. However, in March, Basi decided to leave her job after 25 years. Her injury meant she experienced short-term memory loss, got tired
easily and had to pace herself. “It was so difficult, (but) I’m in the middle of starting my own
business now, which is an innovative sustainable fashion company, which I’m looking to launch this year,” she said. “I have to work around my own body clock now, and I didn’t have that flexibility in my old corporate world.”
Her personality has changed too – for instance, she has realised she is much blunter than she was before suffering the haemorrhage. Personality changes are a common side effect for a person who has suffered from a brain injury. “The more people I speak to – who have suffered similar trauma – the more they say the same thing,” Basi said. “It has been nice to
relate to other sufferers and find out that I’m not alone and they have had similar experiences.”
Although she is mostly recovered today, Basi has an annual brain scan, as well as neuropsychology sessions every month. The doctors have warned her that she could suffer from a haemorrhage in the future. “I’ve just got to be vigilant in noticing the signs and get myself to a hospital straight away (if anything happens),” she said.
Basi, who grew up in Newcastle, but is based in Cheshire, now wants to share her story with the world. After leaving hospital, she sought to find out more about her condition, but found few resources. To raise awareness, she decided to upload videos of her recovery process on YouTube. Encouraged by the positive reaction, as well as a diary she compiled during her recovery (when she experienced memory loss), Basi proceeded to write a book.
It took 10 months to complete Room 23: Surviving a Brain Hemorrhage. Basi is now an ambassador for a number of charities (Brain & Spine Foundation UK, The Bee Foundation Philadelphia USA and Same You Org).
She also speaks publicly on her experiences and has just finished her second book. “I didn’t want others to feel alone in their journey of recovery,” she said.
Room 23: Surviving a Brain Hemorrhage is available now from all good booksellers, including Waterstones and Amazon
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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