Sara Sharif’s injuries similar to car crash victim, court hears
Paediatric radiologist Prof Owen Arthurs noted that spinal fractures are rare and usually associated with high-impact trauma, such as from vehicle accidents.
The court heard that Sara had been subjected to over two years of abuse. (Photo: Surrey Police)
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A court was told that 10-year-old Sara Sharif sustained injuries similar to those typically seen in car crash victims prior to her tragic death.
During the trial, which is examining the circumstances of her death, it was revealed that Sara had over 70 injuries, including signs of healing spinal fractures that had been rebroken.
This information was presented to jurors by paediatric radiologist Prof Owen Arthurs, who noted that spinal fractures are rare and usually associated with high-impact trauma, such as from vehicle accidents.
He also mentioned that Sara's neck injuries were exceptionally unusual, suggesting they were most likely caused by manual strangulation, indicating significant force was used.
Sara’s dead body was discovered in her home in Woking, Surrey, in August 2023.
The Old Bailey previously heard of the severe abuse Sara endured over a period of more than two years. Testimonies indicated she had been hooded, burned, bitten, and physically beaten.
In addition to the spinal injuries, Sara exhibited signs of starvation and was found to have a broken bone in her neck. These findings raise grave concerns about her treatment in the weeks leading to her death.
Sara’s father, Urfan Sharif, 42, stepmother, Beinash Batool,30, and uncle Faisal Malik,29, are on trial for murder and have denied the charges. They also face accusations of causing or allowing the death of a child.
Prosecutors have highlighted the disturbing details of Sara's injuries, which included puncture wounds and bruising, alongside marks consistent with burns and scalding from hot water.
The prosecution argued that the trio's behaviour following Sara's death raises further suspicions. It was reported that they fled to Pakistan with Sara’s five siblings just a day before her body was found. Urfan called police from Pakistan, admitting his role in Sara's death approximately an hour after arriving there.
Testimonies in court also included details about the physical condition of Sara’s body. Bone expert Prof Anthony Freemont indicated that the fractures in her neck likely resulted from compression, a common cause of such injuries being manual strangulation.
He also noted that the presence of fractures of varying ages in different bones suggested a pattern of non-accidental injuries, underscoring the extent of the abuse Sara faced.
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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