The new ITV medical drama Maternal has been receiving glowing reviews from critics and audiences alike ever since premiering on January 16. The six-episode series tells the story of three women working in frontline medical roles in post-pandemic Britain and stars Parminder Nagra in the role of paediatric registrar Dr Maryam Afridi, Lisa McGrillis as Acute Medicine registrar Dr Helen Cavendish, and Lara Pulver as surgeon Catherine MacDiarmid.
The medical drama series also features actor Raza Jaffrey in a prominent role. He is seen in the role of Dr Jack Oliviera, the ex-boyfriend of his real-life wife Lara Pulver’s character, Dr Catherine MacDiarmid.
Talking about the experience of working with her husband on Maternal, Pulver told a publication, “It was wonderful. Raz and I, we had been offered to work in a play together before. But we couldn’t logistically make work because we got pregnant. This was the first opportunity for us to work on screen together. Over the years of doing self-tapes, I know what Raza’s like to work with. But, I guess, you never know until you are on set together.”
She continued, “Personally, it was amazing because in our profession we so often go away and that means splitting up the family.”
Pulver’s Maternal co-star Parminder Nagra lives next door to the couple in Los Angeles, which helped them move together for filming.
“It was such a gift as a family unit with our kids being so young, to all up-root with their aunty Mindy and their cousins around the corner,” Pulver said. “Also, Raza’s from Liverpool. So, all his aunties, uncles, and family are there so we have this other element of extended family out of it. So, logistically it was amazing to go to work and come home to my family, which is very rare.”
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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