NEW ZEALAND returned to winning ways at the World Cup following a four-match slump as they defeated Sri Lanka by five wickets at the M Chinnaswamy Stadium on Thursday (9) and all but secured their place in the semi-finals.
Opening batsmen Devon Conway (45) and Rachin Ravindra (42) got fourth-placed New Zealand's chase of 172 off to a fast start and Daryl Mitchell (43) got them close before they crossed the finish line in 23.2 overs.
Victory left New Zealand on 10 points and in pole position to bag the last semi-final spot and join India, South Africa and Australia. Pakistan will now need to beat England by a massive margin to leapfrog New Zealand on net run rate.
Earlier, seamer Trent Boult and off-spinner Mitchell Santner landed timely blows as Sri Lanka limped to 171 all out after an early blitz by Kusal Perera (51) and a defiant late effort by Maheesh Theekshana (38 not out).
New Zealand captain Kane Williamson's decision to bowl after winning the toss paid off early, as Boult (3-37) and Tim Southee (1-52) tore through the Sri Lanka top order to leave them in trouble at 32-3 inside five overs.
Perera, who was dropped on zero by Tom Latham in the second over, punished New Zealand with a 22-ball fifty but lost another partner when Boult trapped Charith Asalanka lbw to turn up the heat on the 1996 champions.
A fit-again Lockie Ferguson (2-35) struck in his second over to dismiss the aggressive Perera as Sri Lanka collapsed to 70-5 and eventually folded in the 47th over for a modest total after Santner (2-22) and Ravindra (2-21) joined the party.
Santner curtailed Sri Lanka during a crucial phase of the innings and removed Angelo Mathews (16) and Dhananjaya de Silva (19) before Theekshana and Dilshan Madushanka (19) frustrated New Zealand with a 10th-wicket stand of 43.
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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