Sadler's Wells has unveiled the inaugural shortlist of the Rose International Dance Prize, with seven nominated pieces from Brazil, Israel, Portugal, Greece, France, Taiwan, and the USA.
The Rose International Dance Prize is a biennial prize for new dance creations in any style, showcasing some of the most inventive and daring choreographers at work today. It consists of the Rose category, for established choreographers presenting a full-length performance of 50 minutes or longer, and the Bloom category, for emerging choreographers with a maximum of ten years' experience.
Four Rose Prize productions and three Bloom Prize productions have been shortlisted by a process involving 14 international nominators (presenters, artists, producers, and writers), followed by a refined selection process by six selectors, who nominated the seven international shortlisted productions.
The Rose Prize Shortlist:
An Untitled Love by Kyle Abraham
CARCAÇA by Marco da Silva Ferreira
Larsen C by Christos Papadopoulos
Encantado by Lia Rodrigues
The Bloom Prize Shortlist:
Sepia by Stav Struz Boutrous
Maldonne by Leïla Ka
Beings by Wang Yeu-Kwn
There will also be an opportunity for audiences to have their say, with an online vote to choose an audience winner.
A prize of £40,000 will be awarded to the Rose category winner and a prize of £15,000 will be awarded to the Bloom category winner.
Sadler's Wells CEO Sir Alistair Spalding hopes the award will “do for dance what the Turner Prize has done for visual arts”.
Choreographer Akram Khan said Sadler's Wells decision to launch the prize was "extremely important".
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He said, "It's going to be such a varied audience, and that's what's really exciting. Usually when dance is celebrated, usually it's because of the dancer or the production, but what's interesting here is it's celebrating the choreographers."
In early 2025, the nominated works will be performed across venues around London over a two-week period.
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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