Fans' anger would have been made more acute by seeing rivals India sweeping to nine wins out of nine, after becoming the first team to reach the semi-finals
By Eastern EyeNov 16, 2023
PAKISTAN captain Babar Azam was described as “depressed” and under pressure to save his job last Sunday (12), after the team crashed out of the Cricket World Cup, failing to make the semi-finals for a second successive tournament.
A 93-run loss to England sealed Pakistan’s fate, ending the 1992 champions’ already slim hopes of squeezing into the last four.
Ramiz Raja, a former Pakistan captain and ex-chairman of the country’s cricket board said Azam, 29, was “depressed” over the reaction at home.
Fans’ anger would have been made more acute by seeing rivals India sweeping to nine wins out of nine, after becoming the first team to reach the semi-finals.
Azam’s team lost five of their nine games, including a seven-wicket loss to India in front of more than 100,000 fans in Ahmedabad. That was India’s eighth victory in eight World Cup games against their neighbours.
Pakistan also lost to Afghanistan for the first time.
Azam made 320 runs at the World Cup with four 50s at an average of 40, and remains the world’s second highest-ranked batsman. He has almost 13,000 runs in all formats of international cricket.
However, it was his captaincy in India which was questioned when he faced accusations of lacking aggression in field settings. And Pakistan’s media also consistently accused him of favouring his friends in selection.
“I get behind Babar. He is very, very close to me. He’s a young guy that needs to be taken on the journey, he needs to be shown the ropes,” said Pakistan’s director of cricket Mickey Arthur.
Azam has been captain of the Test and ODI teams since 2020.
“He’s still learning all the time. We know he’s a very, very fine batsman. He learns every day with his captaincy,” added Arthur.
“We have to allow him the time to grow. And in order to do that, you make mistakes. It’s not a crime to make mistakes as long as you learn from those mistakes.”
Despite the despondency of fans at home, Azam and his team found sympathy in India. Only a smattering of Pakistan fans – mostly expatriates – were at the venues as visa complications effectively meant a ban on those wishing to cross the border.
As a Pakistan squad playing in India for the first time in seven years, they were virtually confined to hotel rooms once playing and training commitments were completed. Security details would accompany players and squad members if they wanted to venture outside their hotel.
Arthur compared the situation to touring “in Covid times”.
Raja believes that Azam may become the first victim of bloodletting in a Pakistan cricketing environment often plagued by infighting.
“There’s so much pressure on him that he may leave the job,” Raja told the BBC’s Test Match Special. “Back home there has obviously been a massive backlash, as expected. The Pakistan media have targeted certain players, and especially Babar Azam.
“It’s a World Cup so you have to take the heat somehow. The problem with this team is it has the potential to play modern-day cricket but they have been a bit shy and timid in their approach.”
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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