If you wonder how your favourite television stars celebrate Eid, here are the three most popular television hunks talking about how they used to celebrate the festival in their childhood and now.
Mohammad Nazim: I have always missed celebrating Eid with my whole family. So, this year when I realised that I had a free schedule, I decided to spend the whole month of Ramzan with my family and close friends. I am in Markotla, Punjab for a month. I have been offering help at the langar in the village and spending time with my family like we used to do during my childhood days. I have always received money as Eidi which my siblings and I used to collect and later buy clothes and accessories for ourselves. This year since I have been offering my help at the langar for the needy and poor, their blessings are going to be the best Eidi I ever received.
Sehban Azim: I have a very basic approach towards celebrating Eid. We usually go to Delhi, if work is not an issue, to celebrate. But whether we are in Delhi or Mumbai, we get ready early in the morning for Namaz and decide what’s to be done. I either call friends at home or visit them. In Mumbai, we go for breakfast. Either you invite friends and family on the first day and go to their home the next day or you go visit them first and invite them on the second day. Simple and nice gatherings with scrumptious food and happy conversations are what my Eid is made of. That's the basic routine almost everyone follows. As a kid, I used to wait for Amma and Abba to give us Eidi...then my brothers and I used to count our Eidi and shop.
Ayyaz Ahmed: I miss my family since I stay in Mumbai. I hardly get time to go to Kolkata, but I usually celebrate Eid the way it should be celebrated. I get up in the morning, go for morning Namaz and then meet my friends and family and eat a lot of sweets and food. But this year is a bit different as I am shooting. I would be going to my shoot directly after Namaz and would be working the whole day. I used to love Eid as a child. My uncle used to pamper me a lot I used to get a lot of things when I was small.
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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