There was a sense of insecurity among Pakistan players during the 2019 World Cup, claims former chief selector Inzamam-ul-Haq, who also reckons that the PCB should have given Sarfaraz Ahmed more time as captain instead of removing him abruptly.
Inzamam said captains need to be backed since they get better with time.
"Even in the last World Cup I felt the captain and players were under pressure because they were thinking if we don't do well in the tournament we will be out. That environment was created and this is not good for cricket," Inzamam said.
"Sarfaraz achieved some notable victories for Pakistan and was learning to be a good captain but unfortunately when he had learnt from experience and mistakes he was removed as captain," the former captain told a TV channel.
Inzamam remained chief selector from 2016 till the 2019 World Cup. During his tenure, most of the time Sarfaraz remained captain.
Soon after Inzamam was replaced by head coach Misbah-ul-Haq, the Pakistan Cricket Board removed Sarfaraz as a player and captain from all three formats.
"Sarfaraz won us the Champions Trophy and also made the team number one in T20 cricket. He got us some good wins. He should have been given more time as captain by the board but it acted in haste and didn't give him confidence or patience."
The PCB has now given the Test captaincy to senior batsman, Azhar Ali while young batsman Babar Azam leads the side in the white ball formats.
Inzamam, the most capped player for Pakistan, also said that the captain's own performance can dip as he had to focus a lot on other players.
"But a captain learns all this with time. There is no shortcut to it."
He pointed out that people praise Imran Khan's leadership qualities and captaincy but he also won the World Cup on his third attempt as captain.
"He won the 1992 World Cup because by that time he had become a seasoned captain and learnt to motivate his players and get them to fight in every match."
Inzamam said giving confidence to new players and youngsters is very important for the selectors. He gave the example of Babar Azam.
"Babar struggled initially in Test cricket but we never had any doubt about his ability so we persisted with him and see today where he is standing in all formats."
He also described Babar and pacer, Shaheen Shah Afridi as and future stars.
"Babar is always compared to Virat Kohli but the latter has played a lot more cricket and if you look at their stats and performances at the stage Babar is now, he has not done badly at all."
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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