Vivek Mishra works as an Assistant Editor with Eastern Eye and has over 13 years of experience in journalism. His areas of interest include politics, international affairs, current events, and sports. With a background in newsroom operations and editorial planning, he has reported and edited stories on major national and global developments.
India aim to disrupt Australia's T20 World Cup campaign when they face off in their final Super Eight game on Monday. A third consecutive win for India will make them group toppers and secure their spot in the semifinals, while significantly threatening Australia's chances following their unexpected loss to Afghanistan in Saint Vincent on Saturday night.
After the defeat against Afghanistan, Australia no longer control their destiny and will closely monitor Rashid Khan's team in their final game against Bangladesh on Monday. India, having suffered defeats to Australia in past ICC events, seek to eliminate their strong rivals early.
India, having ticked all boxes in their back-to-back wins against Afghanistan and Bangladesh, doesn't need much fine-tuning ahead of the knockouts. Both Rohit Sharma and Virat Kohli played substantial innings against Afghanistan, and Shivam Dube answered critics with a crucial knock. Number three Rishabh Pant aims to correct his frequent dismissals off reverse hits.
Hardik Pandya's all-round performance has been a significant positive for India, complementing his incisive bowling with strong batting. Kuldeep Yadav has quickly made match-winning contributions, and he will be relied on for wickets in the middle overs.
Despite the hectic travel involved in the three Super Eight games, the team management is unlikely to rotate players. India, who arrived in Saint Lucia on Saturday night, chose not to train ahead of the Australia game.
The game will be only the second day game at the Darren Sammy Cricket Stadium. While day-night matches have produced high scores, the previous day game saw England fail to chase 164 against South Africa. The pitch, the best batting strip of the competition, is expected to aid slower bowlers under the sun.
Australia have concerns going into the game. Their batting flopped against Afghanistan, and Mitchell Marsh's team had a forgettable night in the field. Marsh, having logged only 88 runs in six games at a strike rate of 111, needs to lead from the front against India. Off-spinner Glenn Maxwell needs to improve his economy rate of 8.58 runs per over.
Key matchups include how Kohli fares against leg-spinner Adam Zampa, who has previously troubled him. Australia might change their strategy by playing Mitchell Starc instead of an extra spinner like Ashton Agar, used against Afghanistan.
“It was an off-night for us in the field, and we own that. We'll be back next game. It wasn't an easy wicket but both teams played on this surface. (India next...) First and foremost it becomes clear for us. We need to win and no better team to do it against (India),” said Marsh after the Afghanistan game.
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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