The Heeramandi star took to her Instagram to share a series of photographs from the celebrations at Sunak’s official residence 10 Downing Street in London.
Bollywood actress Manisha Koirala met Prime Minister Rishi Sunak at his residence to celebrate 100 years of United Kingdom-Nepal's friendship treaty.
The Heeramandi star took to her Instagram to share a series of photographs from the celebrations at Sunak's official residence 10 Downing Street in London.
"It was an honour to be invited to 10 Downing Street to celebrate United Kingdom - Nepal relations and 100 years of our friendship treaty. It was such a pleasure to hear the Prime Minister Rishi Sunak speak fondly of our country Nepal.
"I took the liberty of inviting the PM and his family to come trek to Everest Base Camp," the Nepal-born actress posted.
Koirala, 53, also said that it was surprising that many people at the event had watched her Netflix series Heeramandi: The Diamond Bazaar.
"Can you believe that most of the attendees had seen Heeramandi on Netflix and loved it? I was thrilled!!" the actress wrote.
Created by ace filmmaker Sanjay Leela Bhansali, Heeramandi: The Diamond Bazaar has emerged as one of the most-watched non-English streaming shows on Netflix.
Apart from Koirala, the series also stars Sonakshi Sinha, Aditi Rao Hydari, Sanjeeda Shaikh, Richa Chadha, Sharmin Segal, Fardeen Khan, Taha Shah Badussha, Shekhar Suman, and Adhyayan Suman, among others, in pivotal roles.
It follows the lives of courtesans and noblemen in pre-Independence Lahore and has received mixed reviews.
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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