ACTRESS and former Strictly Come Dancing star Sunetra Sarker has spoken about her new role in upcoming Channel 4 drama, Ackley Bridge.
The Liverpool-born actress plays single mum and dinner lady Kaneez Paracha in the first 8pm Channel 4 drama since Brookside, which she also starred in.
It focuses on a multicultural Yorkshire comprehensive school, set in a small mill town that is home to largely separate white and Asian populations.
As two formerly isolated schools are merged into a new academy, the tensions and prejudices of both communities are brought to the surface.
“Often we depict Asian women who are of good sound mind, lovely women, or the other extreme is quite militant"
The six-part drama created by Ayub Khan Din (East is East), Kevin Erlis and Malcolm Campbell (Shameless), relied heavily on street casting local residents and many of the schoolchildren had never received formal training before they started filming.
Speaking at a panel discussion with members of the cast and crew at Channel 4 headquarters in London, Sarkar said she was fascinated to play a character like Kaneez Paracha and she believed the Asian community would be drawn to an Asian woman who had “personality, substance and humour” because we “just don’t see that enough on television”.
“Often we depict Asian women who are of good sound mind, lovely women, or the other extreme is quite militant and this was such a fine balance of a true woman who lives in Yorkshire, she’s integrated herself, she speaks with a weird accent that is neither this nor that,” said the actress.
“It was also so healing for me to play a dinner lady after playing a doctor for so long.”
Sarkar played doctor Zoe Hanna in Casualty between 2007 and 2016. She told the audience of journalists that she was excited to play a character who was a great mother but also a flawed woman.
“She’s the mother of a daughter who’s got issues which are really going to push certain buttons.”
Adil Ray, the creator and star of BBC 1’s sitcom Citizen Khan, plays Sadiq Nawaz, a successful businessman and the academy’s sponsor.
He said: “If you’re looking for a diverse project right now, it’s really important that you don’t shy away from Muslim stories... at the same time you could take each of the Asian characters and storylines and imagine they are not Asian and they would be really interesting human stories to tell.”
Speaking about his character, Ray said: “There’s a subtle thing about Sadiq that’s relevant to British Asian men of that generation– that they have been brought up in an Asian community but it’s not all they have got to give.
“They are very British as well and they want to integrate and often that does start affecting their marriages and personal lives too.”
The drama delves into gritty issues, tackling drug addiction and the taboo subject of sexuality in the Asian community.
Following Monday night's terrorist attack in Manchester Arena where 22 people including an eight-year-old child were killed, the first episode of the drama was being re-edited.
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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