Mount Kailash & Lake Manasarovar (Tibet): A trip to the lake of blessings and up the mountain was a 20-day expedition into an unknown world. There were no maps, no roads and no direction. The only thing you counted on was your driver and his knowledge. We got stuck in sand dunes, pulled the jeep over big flowing rivers with ropes and made it to base camp. Then the Parikarma, which is the circumambulation of the natural shrines present there, was a blessing and privilege to be in the presence of the creator.
Aconcagua (Argentina): Climbing the highest mountain in South America was just an incredible experience. Located in the Andes mountain range, it just has the most amazing beauty and rock formation.
Kilimanjaro & Meru (Tanzania): Meru is the fifth highest mountain in Africa, but the real thrill was climbing Kilimanjaro. I was lucky to make it to the summit of the highest mountain in Africa and watched the melting glacier, which will sadly be gone in a few years. My guide had initially refused to take me to the highest point of the mountain due to my age as he was convinced I would die, but I wanted to see the glacier and persuaded him.
Elbrus (Russia): The highest mountain in Europe has two peaks known as the Twin Sisters. The challenge was to cross over one and get to the taller summit. The base camp is on the glacier and the barrels we slept in is something I will never forget. People there were very nice and knew how to party. After climbing the challenging summit we celebrated and if I remember, got through like 20 bottles of vodka.
Everest base camp (Nepal): My first attempt to climb the highest mountain in the world became an adventure in itself. First, I had to survive a flight in a small plane from one of the most dangerous airports in the world and then after arriving at the base camp, an earthquake hit Nepal. I am lucky to be alive and will never forget the two days sleeping on the ice outside, as the town of Namche Bazaar became suddenly empty. I vowed that I would return and did.
Everest (again): When I returned a year later to climb the highest mountain in the world, the damage from the earthquake was still there. Those in the town of Namche Bazaar were shocked to see I had returned and told me nobody comes back to the place where they almost died. Well, I am different and made it to the highest base camp in the world.
Carstensz Pyramid (Indonesia) & Mount Kosciuszko (Australia): The plan was to make an ascent to the highest mountain in Indonesia and Australia. Carstensz Pyramid is located on an island 100 years behind civilisation, where we met people living in huts with animals and no chimneys for smoke. We were unable to start the climb as fierce local tribes had started fighting and waited for four days to be rescued by the army, and back to the airport. Then, five days into the Australia climb, we reluctantly stopped due to bad weather. Both turned into unexpected adventures.
Carstensz Pyramid (again): I was determined to return for a second attempt. I hired a guide and paid for the helicopter to the base camp to avoid trouble with the tribes. It was supposed to be a two-person expedition, but one day before the start an earthquake hit Indonesia and the second guy didn’t show up. His cancellation meant I got stuck, but I refused to go back. My guide bribed army personnel and smuggled me through a gold mine in the jeep to get on the side of the mountain, away from tribes. We then tracked back to the base camp, but got sick walking in the rain and ice storm. Luckily, I made it to the base camp and got a helicopter ride back to town, leaving the mountain unconquered.
Grand Canyon hike from rim to rim (USA): It was a seven-day expedition to the bottom of the canyon and up to the Colorado River. I had a dip in the ice-cold water and enjoyed the magnificent view of the rock formation. It was unforgettable!
Let Us Walk Program: My latest adventure is another journey altogether. I have started a programme to organise walks for seniors outdoors and indoors in winter, to promote an active lifestyle. It is magical to see people come together and enjoy walks. If you are reading this and have seniors in your family, disconnect from technology and take walks with them, getting lost in conversations and nature.
Mithan Kansal (a.k.a. Mountain Man) is a father of three, grandfather of six, avid mountaineer, volunteer and philanthropist
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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