BRITISH rock artist Maya Lakhani followed up her dynamic debut song The Line
with her recently released self-produced follow-up Walk Alone.
Like with her debut track, she wrote, recorded, produced and sang the deeply personal song from her home during lockdown.
Eastern Eye got Maya to select 10 songs she loves.
Taal Se Taal from Taal: One of my Bollywood favourites, it has a strong beat mixed with beautiful vocals. It is so powerful and always makes me want to dance. I watched Taal so many times as a child and this was my favourite song from the movie. It’s very nostalgic.
Walk Alone by Maya Lakhani: I wrote my second single in March, when there was a lot of conversation around women’s safety. I was frustrated, angry and sad at the victim-blaming culture I saw on social media, and the fact that women still can’t walk alone without fear. I put these feelings and emotions into a song and wrote Walk Alone. The chorus features the lyric “All I want to do is walk alone”. It’s sad that we still feel fear over such a basic human right.
West Coast by Lana Del Rey: One of my favourite songs by one of my favourite artists. I love the California vibes of the track, her voice, and the creativity of changing the tempo in the chorus – it’s very unusual, but it works so perfectly. It inspires me to think outside the box when writing my music.
The Zephyr Song by Red Hot Chili Peppers: This track was my introduction to rock at the age of 10, so it will always hold a special place in my heart. It’s such a funky rock tune. The Red Hot Chili Peppers quickly became my favourite band after this and inspired me to start my first band when I was 12. My music is definitely still inspired by them.
This Mess We’re In by PJ Harvey (feat Thom Yorke): Everything about this song is beautiful. PJ Harvey and Thom Yorke sound great together vocally, and the instrumental really gives this feeling of longing and loneliness. The album that features this song, Stories from the City, Stories from the Sea, is one of my favourites.
I Think I’m Paranoid by Garbage: This great highenergy rock track really takes you on a journey. I love Shirley Manson’s vocals on the track, which are powerful in an understated way. Garbage continues to be one of my favourite bands and are hugely inspirational to me.
Maps by Yeah Yeah Yeahs: The chorus of this song is so beautiful. I love the lyric “Wait, they don’t love you like I love you”. A super simple, but heart-breaking statement. Karen O is such a brilliant performer and I love the band’s unique style.
Anything, Anything by Dramarama: This is such an ultimate rock ’n’ roll love song. The simple guitar riff is infectious and memorable. The lyrics have a deep feeling of desperation in love, but it’s also a brilliant catchy, upbeat rock song.
Edge of Seventeen by Stevie Nicks: I first heard this song in the movie School Of Rock as a child, and instantly fell in love with it. Stevie Nicks’ vocals are so powerful, and this is such a timeless anthemic rock song. I love Stevie’s voice and count her as one of my inspirations.
ET by Katy Perry: This number is pure pop perfection. The chorus is massive, the vocals are powerful, and it has such a catchy melody. I can imagine it working really well as a heavy rock song too, which is may be why I like it so much. The whole album Teenage Dream is incredibly well written and almost every song on it is brilliant.
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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