AN ACTRESS who lived through the 1983 riots in Sri Lanka revealed it was “surreal” to recreate scenes from the deadly ambush in her new Netflix movie.
Nimmi Harasgama plays the lead female role in Funny Boy, which follows the life of a young gay man in Colombo. It is set in the years leading up to the 1983 uprising (known as Black July), as tensions increased between the minority Tamils and the majority Sinhalese. Harasgama was living in Sri Lanka during the Black July killings, an anti-Tamil pogrom where thousands of people died. While working on the film, she was reminded how important it was to tell the story of civilians living during the war.
“(Recreating the scenes) was surreal,” she told Eastern Eye. “Every day of filming, I just felt how important this film is. The problem we have in this world is that these things happen and we forget so easily… then, they are repeated over and over again because there’s no truth, there’s no reconciliation, there’s no justice. When people are able to see something like (Funny Boy), we remember. All of us, not just in Sri Lanka, need to keep reminding ourselves of it.”
Born to a Tamil mother and a Sinhalese father, Harasgama can still recall the violence her family faced during the civil war. On one occasion, her uncle was taken out of his car and beaten with an iron bar. Her aunt had to flee after thugs destroyed her home. “I was only 10 years old, but I still remember everything,” Harasgama, who also spent time growing up in the UK, revealed. “I don’t think you ever forget something like that.”
Members of her Tamil family hid in her house as violence across the country escalated. She can recall the thugs approaching her home and her father urging them not to burn it down. “I remember him saying ‘this is my house, I’m Sinhalese, don’t burn it’,” she said. “I just remember this pin drop silence inside the living room because (all my Tamil family members) were in there, just waiting.”
In Funny Boy, Harasgama plays Amma, the mother of lead character Arjie. In the coming-of-age film, Arjie comes to terms with his sexuality. Amma is shown to adore her son, despite others branding him a ‘funny boy’ for his characteristics. “As his mother, Arjie is my favourite son,” she explained. “He helps me to dress in my saris, and he chooses my jewellery. But the family start calling him funny boy and I don’t see it – I just think he’s just this beautiful boy.”
In Sri Lanka, same-sex activity is still considered a crime and the act is punishable for up to 10 years in prison. Last month, Funny Boy director Deepa Mehta admitted it had been difficult to cast Tamil actors in the film due to its LGBT themes. “You have to understand, Tamils are still a group that is being persecuted,” Mehta said. “It isn’t that easy for them to come out and say, ‘I want to be a part of a gay film’.”
Brandon Ingram, who plays Arjie in his teenage years, identifies as gay. “It is very brave of him to do this film, in this present situation,” said Harasgama.
When preparing for the film, Harasgama (who made her screen debut in 1997 in Mother Teresa) looked to her own mother for inspiration. Her mother also helped Harasgama with some of the dialogue, which is spoken in Tamil. “I looked to my mother, not just for the language, but also on how to play Amma because (my mother) epitomises what this character is, in the best possible way,” said the actress.
The movie is adapted from the award-winning novel of the same name by Sri Lankan-Canadian author Shyam Selvadurai. Harasgama can recall reading the book when it was initially released in the 1990s. Even then, she could visualise the story being adapted as a feature film. “I was just beginning as an actress at the time and I absolutely loved it,” she said. “It’s a book which resonates with me on so many levels.”
Despite its Sri Lankan setting, she is confident that themes relating to sexuality, conflict and family will resonate with people around the world too. “I think it is extremely important to Sri Lankans, but also to others (from around the world),” she claimed. “I do hope that the film is seen as something that’s universal too, that it isn’t just for the ethnic groups involved in that story. It goes much further than that.”
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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