Vivek Mishra works as an Assistant Editor with Eastern Eye and has over 13 years of experience in journalism. His areas of interest include politics, international affairs, current events, and sports. With a background in newsroom operations and editorial planning, he has reported and edited stories on major national and global developments.
England started their quest for a first major tournament title in 58 years with a 1-0 win over Serbia, thanks to Jude Bellingham's header. On the same day, the Netherlands secured a late 2-1 victory over Poland.
Christian Eriksen made a significant return to the European Championship by scoring the opening goal for Denmark, though they were held to a 1-1 draw by Slovenia.
England, considered one of the favourites for the tournament, aimed for glory under manager Gareth Southgate. Despite the victory, their performance in Gelsenkirchen left room for improvement. Bellingham, however, stood out with a man-of-the-match display, underscoring his rising status in world football.
"The first half showed why we can score goals against any team and the second half showed why we can keep clean sheets against any team," said Bellingham. "I feel like in every game I can make an impact. I can decide a game. It's a release for me to play football, it's my favourite thing in the world, so I don't feel any pressure when I go out there."
At 20 years old, Bellingham became the first European player to participate in three major tournaments before turning 21. He capped his impressive individual performance with the only goal, heading in Bukayo Saka's deflected cross in the 13th minute.
Harry Kane had a late header turned onto the bar by Serbia goalkeeper Predrag Rajkovic. In the closing moments, England endured a tense finish as Jordan Pickford saved a dipping shot from Dusan Vlahovic and Kane cleared Veljko Birmancevic's goal-bound effort.
The match had been declared "high risk" by German police, and there were minor clashes between rival fans before kick-off, resulting in seven Serbian fans being taken into custody.
For the Netherlands, substitute Wout Weghorst scored in the 83rd minute, just two minutes after entering the match, securing a Group D victory against Poland, who were missing the injured Robert Lewandowski.
"I am very happy. This is indescribable, especially at a final tournament. So special. This is personally a dream scenario," said Weghorst. "The absolute goal is to win that cup together."
Dutch fans created an orange wall of noise in Hamburg hours before kick-off. Poland supporters, however, had their moment when Adam Buksa headed their team in front early on. Cody Gakpo equalised before the half-hour mark with a deflected shot, keeping the match lively and competitive. Despite missed chances from Gakpo, Memphis Depay, and Denzel Dumfries, the Dutch persisted until Weghorst secured the win.
The Dutch, winners in 1988, aim to improve on their recent Euros record, having not reached the quarter-finals since 2008.
Earlier in the day, police in Hamburg shot and injured a man who threatened them with an axe and a Molotov cocktail. A police spokesman stated there was no indication the incident was linked to the game.
Eriksen, who collapsed during Denmark's Euro 2020 opener, marked his return to the European Championship with a goal in Stuttgart.
"I do think this time my story at the Euros is very different from the last one," said Eriksen. "Luckily it's been a lot of games since the last time and since it happened. I felt confident in playing again, so in that sense I was just happy to be back playing."
Denmark, who rode a wave of emotion to the semi-finals three years ago, failed to secure a win as Erik Janza's deflected effort earned Slovenia a point. Denmark's next match is a rematch of their Euro 2022 semi-final against England, while Slovenia will face Serbia on Thursday.
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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