A Dalliance with Destiny by Aman Singh Maharaj: The tale, set in South Africa and India, spans a century and follows the exploits of a young man searching for his epic life story. Using magical realism, the reader is taken through a guttural introduction of the woebegone archetype, wading through the contemporary world with fervour, not fully grasping the reasons as to why he is undergoing certain negative experiences. Riddled with lyrical prose, the text is a feast for lovers of the English language, embedded in rich metaphors that are sustained throughout the novel, and leads towards a series of twists and turns.
Shantaram by Gregory David Roberts: The novel keeps the reader enthralled despite it being written in the first person. Effectively, every scene has the protagonist in it, but far from tiring of his character, and despite being a criminal, he has the reader’s support. The tale has pace, but also combines intense reflection during some violent Bombay underground scenes. The language is gritty but has an old school charm in its romance. The lengthy story was followed by a successful sequel that answered many questions from the first novel.
Great Expectations by Charles Dickens: The hero introducing himself by name at the beginning captures the beautiful simplicity of this tale. Books where the reader is addressed through the text is an art that Dickens perfected. The linkages Dickens creates with this tale are beautifully crafted, especially in an escaped prisoner being an unknown benefactor to Pip in his later years.
Lolita by Vladimir Nabokov: Despite the sordid theme, the sheer lyricism of Nabokov’s writing keeps the reader spellbound. His descriptive paragraphs on the varying versions of Lolita’s name and their origins are vividly scribed. Nabokov manages to extract a kind of empathy for the protagonist, creating a moral dilemma for the reader.
To Kill a Mockingbird by Harper Lee: Set in the American south during an era when African-American people were still suffering social stigmas post slavery, the writer, through her stoic character development of the white lawyer who fights for justice for a man wrongly accused of a heinous crime, achieves a masterpiece. With her writing, Harper Lee’s immense prose became the gold standard for the collective conscience of 1960’s USA.
A Passage to India by EM Forster: A story scribed in an era when the demise of the British Raj in India was becoming a very real likelihood. The novel now stands in the canon of English literature as a truly great discussion of that colonial presence. It demonstrates how cross-cultural friendships attempt to bridge the divide between the coloniser and
colonised. The novel is richly textured in descriptions, where its author reveals himself to be an excellent stylist and an astute judge of human character.
A Suitable Boy by Vikram Seth: Set primarily in the town of Brahmpur, this novel captures the lives of an ordinary family in the most extraordinary way. At some 1,500 pages, the lengthy book requires a beginning that breaks down the genealogy of interconnected families, the reader can refer to when clarity is required. The novel is so intensely penetrated into the various characters that the reader feels he is a member of the
extended family themselves. Seth keeps the reader enthralled throughout, even in the
historical bits, bearing testimony to his skill as a writer.
Far from the Madding Crowd by Thomas Hardy: There is no greater writer of tragedy in romance than Thomas Hardy, and this novel exemplifies that more than any other. Released in 1874, the masterpiece captures the whimsical nature of the coquettish heroine, immersed in her own beauty, but seeking to be enthralled in love. Hardy’s detailed description of the once hardened Boldwood, who becomes besotted with Bathsheba, is a giddy portrayal of a confirmed bachelor descending into madness. The role played by the stoic Gabriel Oak, who loves her from afar, provides the reader with an insight into a more sacrificial love, who keeps his emotions in check. The entire novel is a thrilling examination of the several types of love shown by a man to a woman.
Delhi by Khushwant Singh: The author’s magnum opus captures his furtive love for the city, while ‘period hopping’ between two different eras in the tale. Gaudy history is combined with
creative writing, bringing to the fore a novel that is daring, at times depraved, but most thrilling. At the end, the reader is left with an in-depth understanding of the development of old and modern Delhi, capturing the grime and sordid underbelly embedded in its creation over the centuries.
A Fine Balance by Rohinton Mistry: Through the writing of Mistry, one gets to understand Bombay and its social quagmire, experienced through an array of characters from differing statuses. He always manages to bring in the quaintly fascinating, sizeable Parsi community in the city. Set in 1975, the book is almost depressing in its storyline, but due to a burgeoning climax, it is difficult to put down. The bleakness of the lives of the main characters is embedded throughout the novel, taking the reader down the despairing path of their emotions.
Dr Aman Singh Maharaj is a South Africa-based writer. His debut novel A Dalliance with Destiny is out now. Visit www.amansinghmaharaj.com for more.
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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