British Asian star and musician Riz Ahmed stressed the unity of humanity in his acceptance speech as he won his first Oscar for the live-action short film, The Long Goodbye, at the 94th Academy Awards, last Sunday (27).
Ahmed and director Aneil Karia were presented the award as the glitzy ceremony resumed its pre-Covid format at the Dolby Theatre in Hollywood, Los Angeles.
The 39-year-old actor from London said, “In such divided times, we believe the role of story is to remind us there is no ‘us’ and ‘them’. There is just ‘us’.
"This is for everyone who feels like they don't belong. Anyone who feels like they're stuck in a no man’s land. You're not alone. We'll meet you there. That's where the future is. Peace."
Riz Ahmed and Writer and Director Aneil Karia, winners of Best Live Action Short Film for The Long Goodbye pose in the press room at the 94th Annual Academy Awards (Photo by David Livingston/Getty Images )
Ahmed co-wrote The Long Goodbye along with Karia and also starred in it. The 11-minute film explores the ideas of inequality and racism in Britain as it depicts a suburban south Asian family preparing for a wedding. However, their happiness is shattered when a group of white-armed men violently barges into their home.
At a screening in London last year, Ahmed explained how migrants are often asked where they are from.
“I think myself and Aneil have been asked that our whole lives. It’s a seemingly innocuous question, but also there’s a question underneath that question which is, ‘where do you belong?’” the star said at the time.
“The question is one that's kind of spinning around in our heads, particularly at the time when we made this film, at a time of rising xenophobia in the past few years.”
Backstage on Sunday night in Los Angeles, in an interview with Variety, Ahmed said it was important to “tell all kinds of stories, of all types of people”.
“A story is a place where you can imagine yourself in someone else’s experience, and by doing that, it increases your empathy, opens your heart and your mind, it broadens your horizon, about who you can relate to and how we are all the same.”
Ahmed, who is known for speaking up for migrants and refugees worldwide, also noted that “immigrants are being dehumanised, I think it’s really important to tell stories that change that.
“We’ve tried to show the challenges and dangers of where we might be headed. But it’s also to celebrate the joy and community of the migrant family at the heart of this story.
“So we ought to continue telling the stories that complicate and elevate our experience on screen so that people can really empathise.”
In their film, Karia and Ahmed have portrayed what it feels like to have an identity crisis, not being able to fit in, hated, and looked down upon in a country that caters to white middle-class people.
The Long Goodbye was released online at the time of the UK’s exit from the EU and Ahmed previously described the narrative as a breakup letter to Britain amid Brexit.
The Wembley-born British Pakistani star said in November, “I feel like as filmmakers of colour you spend your time telling stories, responding to someone else's narrative.
“And just being able to kind of strip all that away and go, ‘actually, here's what's going on in the back of my head and my deepest, darkest corners in my mind, and here's how I feel.’
“It's something very, very liberating about that and breaking the fourth wall.”
The film features music from Ahmed’s 2021 album of the same name, which reflects his identity as a British Pakistani artist.
In 2021, Ahmed became the first Muslim actor to be nominated for the Academy Award’s Best Actor category for his role in the film Sound of Metal.
The versatile actor played the character of a hearing-impaired drummer; however, he lost out to Anthony Hopkins.
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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