Shanghai-London Screen Industry Forum: A Convergence of Film and TV Leaders
On a recent Thursday at the prestigious BAFTA building in London, key figures from the Chinese and UK film and television industries convened for the Shanghai-London Screen Industry Forum. The forum focused on exploring opportunities for co-production and distribution, highlighting micro-dramas, children’s programming, and sports content as primary areas for international partnership.
The Shanghai Municipal Administration of Culture and Tourism (Radio and Television) hosted the event, with support from the UK’s Department for Business and Trade and organizational efforts by Phoenix TV.
Notable attendees included Rupert Daniels, Director of Services at the UK’s Department for Business and Trade; Adrian Wootton OBE, CEO of Film London & British Film Commission; Li Liyan, Minister Counsellor of the Chinese Embassy in the UK; and You Haiyang, Level II Counsellor and Division Director at Shanghai Municipal Administration of Culture and Tourism.
Exploring New Horizons in Co-Production
Roy Lu, General Manager of Linmon International, expressed optimism about the burgeoning opportunities for Sino-British collaborations, particularly in the rapidly growing sector of vertical micro-dramas.
Lu remarked, “Vertical micro-dramas represent a significant opportunity for collaboration between the UK and China. The Chinese market is teeming with apps, companies, and platforms eager for more international co-production ventures. While we have undertaken several projects in the US, Canada, and Australia, we are actively exploring further opportunities in London and other European regions in the coming years.”
Another promising area for joint ventures is children’s and sports content, as highlighted by Jiella Esmat, founder and CEO of 8Lions production company. “Sports and children’s programming are pivotal in bringing families together, which is crucial for broadcasters aiming to foster family connections,” Esmat explained.
Esmat, a former senior director at Moonbug Entertainment with experience at Paramount Pictures and Sony Pictures, is currently developing an unscripted children’s show titled Touch Grass. The show features football celebrities in a tournament setting and aims to address issues like childhood anxiety and obesity through comedy and live-action fun, incorporating football influencers and stars into its narrative.
“We received considerable interest in the show at MIPCOM. Parents worldwide are grappling with children who are glued to screens, and this show uses humor to promote well-being among kids,” added Esmat, who is also seeking partnerships for the project, including potential collaboration with the US-based Jim Henson’s Creature Shop for mascot production. She is also reaching out to potential partners in China and the Middle East.
Embracing Digital-First Distribution Strategies
Rosemary Reed, founder of POW TV Studios and Trustee & Director of Strategic Partnerships & Media at the Jane Goodall Institute UK, emphasized the renewed focus on using YouTube as a primary platform for premiering and sharing content in the UK. “YouTube has reemerged as a crucial platform, particularly among the younger demographics. It’s essential to adapt our content strategies to cater to the brief attention spans prevalent today, often no more than three minutes,” Reed stated.
Cedric Behrel, co-founder and managing director of Trinity CineAsia, expressed concerns about the limited international focus of Chinese films. Despite representing a vast catalog of Chinese films in the UK, including popular titles like the IP Man franchise and Ne Zha 2, Behrel noted, “Many Chinese films we encounter don’t sufficiently consider international audiences. There’s a need for collaboration to help contextualize uniquely Chinese stories, making them more accessible globally.”
Behrel also observed a shift towards a more globally aware audience, eager to access films shortly after their release, including those showcased at international film festivals like Shanghai’s. “What was once considered ‘alternative content’ is now mainstream, reflecting the global audience’s desire to consume diverse and immediate content from around the world,” he concluded.
Daniel Hayes is a business journalist with a focus on market trends, startups, and corporate strategies.
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