Story of grief, racism and relationships has relatable emotions
By Chiara KhanJan 22, 2024
AN ACCOMPLISHED novel from 2023 was published in paperback last Thursday (11).
Born in Paris and brought up in London, the assured author offers up an interesting debut novel about a young man, from a mixed heritage background, overcome by the death of his beloved grandfather and preparing for a new chapter.
He goes on a journey to find out more about his own father, who passed away before he was born. His mother has kept that part hidden and never discussed it with him. What follows is the unravelling of several deeply held secrets from the past. Although this book tackles emotional issues of loss and grief, it essentially presents coming-of-age stories about a mother and son connected by loss, set across different time periods. By going into the past and present, the author weaves together the respective journeys of both protagonists, facing decidedly different challenges in life but connected by common issues.
This results in the revelation of secrets, which ultimately serves as the key to unlocking doors towards understanding themselves.
The story about grief, losing someone you love and belonging, is powered by relatable human emotions. By focusing on family and likeable characters, the author connects deeply with the reader.
The multi-layered book also takes a hard look at how individuals protect themselves from personal pain, apart from exploring themes like racism, prejudice, culture clashes, childhood trauma, abuse, sacrifices and the complexities of all relationships.
The author doesn’t shy away from some uncomfortable moments and tackles them head-on, which adds extra power to the story.
The book could have been shorter, and the use of street slang in places is jarring. But these are minor flaws in an accomplished book that will connect with different generations, particularly those indviduals who have lost someone.
It will make readers reflect on their personal experiences and perhaps help understand them better.
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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