The United Kingdom is set to host its inaugural Muslim Film Festival, a groundbreaking event poised to celebrate the diverse narratives and talents within the Muslim community.
Scheduled to take place from May 30th to June 2nd at the prestigious Odeon West End in London, this festival promises to showcase the richness and complexity of Muslim experiences through the powerful medium of film.
One of the most anticipated aspects of the festival is its impressive line-up of stars and filmmakers. Among them are luminaries such as Riz Ahmedand Nabhaan Rizwan, both of whom have made significant contributions to the entertainment industry and have been vocal advocates for greater representation of Muslim voices in media.
Riz Ahmed, known for his versatile performances in films like Nightcrawler and Sound of Metal, has emerged as a prominent figure in Hollywood, challenging stereotypes and advocating for more inclusive storytelling. His involvement in the festival underscores the importance of providing platforms for Muslim artists to share their stories authentically.
Nabhaan Rizwan, whose star has been on the rise following his breakout role in the critically acclaimed series Industry, brings his fresh perspective and talent to the festival. As a young British actor of Pakistani descent, Rizwan represents the next generation of Muslim artists who are shaping the cultural landscape with their creativity and vision.
Ahmed will be seen in Dammi, a short film directed by Yann Demange, the French filmmaker. The Oscar-winning actor co-stars with Isabelle Adjani in a story about a man confronting his French and Algerian heritage on a trip to Paris.
Rizwan plays the lead in In Camera, a British feature directed by Naqqash Khalid that screened at the London Film Festival, as an actor struggling to make a career in the film industry in the face of repeated rejections.
Other programme highlights include Hounds, a Casblanca-set crime yarn from Moroccan-born writer-director Kamal Lazraq, which will open the festival after winning a prize in the Un Certain Regard selection at Cannes; multi-award-winning Jordanian film Inshallah a Boy, about a widow (Mouna Hawa) pretending to be pregnant with a son to fend off legal problems; and another Cannes prize-winner, Sudanese director Mohamed Kordofani’s Goodbye Julia, set during the pre-separation period, about a woman from the north and her maid, who is from the south.
In a statement, the festival said: “At a time of polarised public opinion and a prevalence of negative portrayals of Muslims in the mainstream media, MIFF has arrived on the international film festival circuit with a mission to celebrate and amplify the diverse voices that explore the rich tapestry of Muslim experiences via the medium of film.”
Festival director Sajid Varda added: “The festival is … a vibrant celebration of cultures and stories from across the Muslim world, providing a spotlight on talented emerging and seasoned film-makers from all corners of the globe.”
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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