PAKISTAN finally got the monkey off their back with a 10-wicket thumping of arch-rivals India but skipper Babar Azam refused to get carried away and reminded his jubilant teammates to stay focused on the task ahead at the Twenty20 World Cup.
Babar led by example as Pakistan outclassed neighbours India in a World Cup showdown for the first time in their 13th attempt, triggering wild celebrations at the Dubai International Stadium on Sunday (24).
"We prepared well, and just kept the history out of our mind," Babar, who combined with opening partner Mohammad Rizwan to chase down the target, said after the memorable victory.
"We applied our plans and got the results. We, the openers, kept it simple and built a partnership and because the wicket was getting better so we just wanted to keep batting till the end."
The 2009 champions face New Zealand in their next Group II assignment on Tuesday (26) and Babar warned his teammates against dropping their intensity.
"It won't get easier just because we beat India," said the elegant opener.
"We will take the confidence, but we're taking it one match at a time, and there's a long way to go in the tournament."
Shaheen Afridi was adjudged man-of-the-match for his 3-31, which included the prize wicket of India captain Virat Kohli, who topscored for his side with a classy 57.
Afridi rattled India early with the new ball, dismissing openers Rohit Sharma and KL Rahul in his successive overs to deny them a strong start.
"It was a historic moment for all of us," Afridi told reporters.
"This was the first time I bowled three overs on the trot in powerplay. I got some swing in the first two overs and my effort was to earn quick breakthroughs for my side which, fortunately, I was able to achieve.
"Bowling yorker with the new ball has been my strength and I tried the same against Rohit. It luckily worked.
"Batting against the new ball was tough, so credit goes to Babar and Rizwan for the way they played."
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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