This year’s "all-white" Bafta nominations did not go down well among artistes and aficionados across the spectrum. The list ended up prompting the trending hashtag #Baftasowhite.
The controversy got a fresh twist with many British stars nominating personal choices for an ‘Alternative Bafta List’ campaign that highlights some top-notch performers who were perceived to be overlooked.
Indira Varma of Game of Thrones fame said she would nominate Mati Diop (Atlantique) and Olivia Wilde (Booksmart) for Best Director even as she “very much” supported the nomination of Bong Joon-Ho’s nomination for Best Director and Best Picture (Parasite). The Time’s UP UK ambassador nominated Awkwafina for Best Actress in a Leading Role (The Farewell).
Yesterday actor Himesh Patel nominated Lee Jung Eun for Best Supporting Actress (Parasite) and Tzi MA for Best Supporting Actor (The Farewell).
Carey Mulligan, who garnered acclaim at Sundance for her role in Promising Young Woman, picked Lorene Scafaria for Best Director (Hustlers). She hit out that "something's not working" if a film like Huslters and a performance like Jenifer Lopez's failed to get recognition.
Gemma Arterton said she “loved” Booksmart and could not believe it failed to make the cut, “especially for the acting and first-time director”. Same goes for The Nightingale and Portrait of a Lady on Fire, she added.
While director of A United Kingdom Amma Asante said her pick for Best Actress in a Leading Role was Queen & Slim star Jodie Turner-Smith, Colour Out of Space actor Joely Richardson said Vanessa Redgrave should have got nominated for Best Supporting Actress (Mrs Lowry and Son).
Dame Heather Rabbatts, chair of Time’s UP UK campaign, said there were "glaring omissions" and that the “lack of diversity at the Golden Globes and now at the Baftas” has been panned across the media and talent. “We are looking at an awards season where women and people of colour have just not been recognised despite the fact that there is a wonderful array of choices,” he rued.
Earlier, industry bodies such as actors’ union Equity and British East Asians in Theatre and on Screen (BEATS), too, had slammed Bafta. The authorities concerned promised to carry out a “careful and detailed review” of voting procedures that would produce a more representative system for the 2021 awards.
This year’s awards is set to be held on February 2.
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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