A couple of months ago, the nominations for the International Emmy Awards 2021 were announced. Nawazuddin Siddiqui was nominated in the Best Male Actor category for his performance in Netflix’s Serious Men. Vir Das: For India was nominated in the Comedy category and Aarya was nominated in the Drama Series category.
The award ceremony took place on 22nd November 2021 in New York City, and Siddiqui, Das and Sen’s show couldn’t win an award. The best Drama Series award went to Tehran, David Tennant won Best Male Actor award for Des, and Call My Agent – Season 4 won in the Comedy category.
Das, who couldn’t win the award tweeted, “I was nominated for best comedy at the International Emmy Awards, for jokes. Call My Agent, a beautiful show I love won. But I got this medal, and ate this fantastic salad. It was an honour to represent my country. Thanks so much to the @iemmys.”
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When the nominations were announced, Sen had posted on Instagram, “OMGGGGGG!!!! AARYA is nominated for Best Drama Series at the #InternationalEmmyAwards2021 @iemmys. Was busy dubbing for AARYA2…just got the news!!!! Yipppeeeeeee!!!! CONGRATULATIONS @madhvaniram @amitamadhvani @officialrmfilms @sandeipm @vinraw @disneyplushotstar @endemolshineind #teamaaryaa & THE MOST AMAZING CAST & CREW EVER!!!! To see INDIA on this list, fills my heart!!! Thank you wonderful people….your love & appreciation for #Aarya is the very soul of this celebration!!! This Team truly deserves it!!! Congratulations to @nawazuddin._siddiqui and @virdas for their respective nominations & for adding to India’s pride!! I love you guys!!! #duggadugga.”
Siddiqui had then tweeted, “Wow !!!! #SeriousMen has got me a nomination for the prestigious #InternationalEmmyAwards in the Best Actor category Congratulations Team #SeriousMen Director @IAmSudhirMishra @sejtherage #BhaveshMandalia @manujosephsan & last but not the least @NetflixIndia @netflix @iemmys.”
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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