Starring: Susanna Hurrell, Alok Kumar, Jonathan Lemalu, Michel De Souza and Njabulo Madlala
By Lauren Codling
TO honour the late Pandit Ravi Shankar’s birth centenary, the Southbank Centre have revived his first and only opera Sukanya as part of its Shankar 100 celebrations - a series of concerts and events to mark the occasion.
Described as a “love letter” to his wife, sitar maestro Shankar worked on Sukanya up until the final days of the life. Sadly, he passed away in 2012 before he was able to complete it. His wife, daughter Anoushka and Shankar’s close friend David Murphy helped to complete the opera, eventually staging it in 2017.
Taken from the famous Sanskrit texts of the epic Mahābhārata, in which the princess Sukanya marries a bereaved older man and twin demi-gods try and tempt her away, the staging is a tribute to Shankar’s determination to fuse Eastern and Western musical traditions together.
With an array of solo Indian instrumentalists, dancers and opera singers, as well as the sublime London Philharmonic Orchestra and conductor Murphy, Sukanya succeeds in combining both cultures into one. The choreography by Gauri Diwakar is hauntingly beautiful and Susanna Hurrell, as the protagonist, is both convincingly graceful and heroic in her role.
However, the mainly English-language libretto does not offer much – it lacks poetry and at times, feels wooden. The staging was also slightly underwhelming – although the Southbank’s Royal Festival Hall remains one of the most magnificent theatres in London, it felt under used. The orchestra took up most of the stage, but Sukanya may have benefitted from more space for the cast to move. It all felt a little constricted.
The tribute to Shankar is heartfelt and stays true to his passion of creating a blend of diverse sounds and genres. However, there are instances when the performance could have soared – but instead fell flat.
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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