I tell stories to gather people around what matters.

I started making YouTube videos at eight, and filmmaking has held my attention ever since. Those experiments led to a Christmas mystery starring Eton’s Provost, professional editing commissions and a production involving several hundred pupils. Along the way, I discovered how much I enjoy persuading people to take an idea seriously and helping turn it into something worth watching.

I have also served on UNICEF UK’s Youth Advisory Board, led a student news publication and taught children who cannot attend school to make their own films. These roles have made me think more carefully about the people whose experiences I communicate, particularly when I am speaking on their behalf or helping them tell their own stories.

Filmmaking remains where I feel most at home, and I enjoy finding uses for it through charity work and teaching. Journalism and research give me time to follow a question, examine the evidence and decide what I think. Performing brings another challenge, asking me to understand someone else’s words well enough to make an audience care about them.

At Eton College, I study Latin, Ancient Greek, Philosophy and English Literature at A-Level. I have received 146 Show-Ups, awards for outstanding academic work, and ranked sixth in my year for these awards in autumn 2025. I also hold my boarding house’s record of 53 Commendations for Good Effort, recognising sustained engagement in lessons, and achieved Merit in internal examinations, placing in the top quarter of my year.

I was runner-up in the Year 11 History Essay Prize and a finalist in the school’s AJ Ayer Philosophy and Swinburne English essay prizes. I am particularly interested in how writers shape our sympathies, how arguments persuade us and what happens to a text when someone translates or performs it.

I am directing and producing School Film 2027, Eton’s first student-directed major production. Following nine months of pre-production with the school’s Film Society, the project brings together its drama and art departments and cadet force, with a planned cast and crew of several hundred pupils. I develop the film’s creative direction and coordinate the people needed to bring it to the screen.

My Christmas mystery Drop the Mask involved 28 people, starred Eton’s Provost, the head of its governing body, and premiered at my boarding house’s annual Founder’s Feast. At Interlochen Center for the Arts in Michigan, I directed Pants on Fire, a satire about university admissions pressure, leading a 12-person crew. I have also studied filmmaking through programmes at New York Film Academy and Babel Workshop.

Editing remains one of my favourite parts of the process. A scene can contain the right material and still fail because the audience receives it in the wrong order. On my YouTube channel, I experiment with challenges that make me reconsider how I shoot and edit.

My short-form videos have attracted over 32,000 followers and 45,000 hours of viewing. Twenty-one creators with a combined 53 million subscribers, including Airrack and Jenny Hoyos, have approached me about joining their teams. I undertake paid freelance editing commissions at US$120 per finished minute of video, shaping footage through pacing, humour and narrative structure.

At the Eton Film Festival, I received the Flatley Award for Most Dedication. I also won the school’s 2026 Moseley Physics Video Prize for communicating physics through film, following runner-up placements in 2024 and 2025. My Antarctica documentary received Sent Up for Good, Eton’s highest academic commendation, and was selected for permanent preservation in the College Library.

I have also campaigned for the return of Eton’s Film Unit, speaking with more than 260 pupils and bringing the issue to senior leadership. Having benefited from its equipment and opportunities to collaborate, I wanted other pupils to have the resources to attempt films they could not make alone.

From 2023 to 2025, I served as one of eight members of UNICEF UK’s Youth Advisory Board, contributing young people’s perspectives to the UK organisation of the United Nations children’s agency.

I joined a four-person panel interviewing candidates for Chief Executive and spoke at a Global Coalition for Youth Mental Health event hosted by Spotify. I also contributed to a campaign around COP29, the UN climate conference, encouraging supporters to contact their Members of Parliament. These roles involved both communicating children’s concerns and participating in decisions about the organisation representing them.

In 2025, I joined the University of Birmingham’s Youth Advisory Group for a study examining how organisations involve young people. My experience at UNICEF UK informed my contribution to research into how youth participation could work more effectively elsewhere.

At Eton, my fellow pupil Anand and I campaigned for Busy Buttons, a Windsor charity supporting children through art and creative expression. I produced a documentary in which the founders explained their work, helped refresh the charity’s digital branding, and supported the campaign through talks and articles. Our campaign won Eton’s 2026 Social Impact Challenge, securing over £5,000 in funding and Busy Buttons’ selection as one of five charities supported through the school’s annual Eton Action fundraising programme. I now serve on the selective Eton Action Committee, helping make decisions about the school’s charitable involvement.

My relationship with Busy Buttons has continued through teaching. I run a ten-week film and animation course for children with special educational needs who are unable to attend school. The children and I are creating an action short film to raise awareness of the charity’s Dream Horse project, a collaborative sculpture made using recycled materials, and its work in sustainability education. As my boarding house’s sustainability representative, I am interested in helping people understand environmental issues through creative projects they can participate in.

My first fundraising project began at ten, when I co-wrote and published a book that raised HK$200,000 for charitable causes during the pandemic. The project involved interviewing Professor Andrew Pollard of the Oxford Vaccine Group and Dr Bruno Holtof of Oxford University Hospitals, and speaking live on BBC Radio Oxford.

In 2022, I created a fundraising website and videos alongside a 100km cycling challenge, raising HK$100,000 for UNHCR, the UN refugee agency. My 2023 novel raised a further HK$100,000 for UNHCR, UNICEF, the mental health charity Mind HK and the Dragon School Trust. That project made me the first attending pupil at the Dragon School to receive its donor pin in recognition of charitable support.

I have continued to contribute through documentary work for Hong Kong charities, including the Society for Community Organisation, known as SoCO, and Mother’s Choice, which supports children without families and teenagers facing crisis pregnancies. In each film, I want viewers to understand the organisation through the people who know its work most closely.

As Editor and Head of the Eton College Journalism Association, I lead the school’s only externally facing news publication, serving pupils, parents and anyone interested in Eton. Our reporting generates more than two million impressions annually. I help decide which stories we cover and how we present them to readers who may know little about the school.

Writing for that audience makes me examine details that familiarity can obscure. A school event needs context, an interview needs questions worth answering, and a reader needs a reason to care. I also contribute to The Chronicle, Eton’s flagship student magazine, and its specialist publications Speaker, Lexicon and Hestia. My articles cover school life, politics, languages and Classics, the study of ancient Greek and Roman literature and culture.

My most sustained independent research project is Ancestors of Cinema, a book examining connections between ancient classical storytelling and modern cinematic language. I spent three months researching and writing it, analysing forty films alongside numerous ancient texts. I approached the literature as someone who also makes decisions about scenes, pacing and an audience’s perspective.

I examined how these works structure their stories and direct our sympathies, considering the societies and audiences for which they were created. The project connected my interest in understanding how a story achieves its effects with my experience of trying to achieve those effects myself.

As a leading member of Eton’s Photography Unit, the student team documenting school life, I photograph societies, events and visiting speakers, including advertising executive and author Rory Sutherland. My photographs have appeared on the front cover of The Chronicle. Writing and photography both require me to notice details that help someone understand an event they did not experience themselves.

Performing ancient literature forces me to make decisions I can leave unresolved while reading. I have to choose where a speaker’s argument turns, which words deserve emphasis and how rhythm contributes to meaning. An audience then hears the interpretation I have committed to.

At Eton, I was runner-up in the 2025 Loder Declamation, a competition in spoken literary performance. I have also placed second in the Hawtrey Latin and Ancient Greek declamation competitions, performing texts in their original languages. I reached the German Declamation and House Duologue finals, the latter involving dramatic scenes performed in pairs, and hold Distinctions in Solo Acting Grades 1 to 7 from LAMDA, the London Academy of Music and Dramatic Art.

I hold ABRSM Grade 8 Singing and earned my ARSM Singing Diploma in 2022. The diploma requires a 30-minute recital, including at least 20 minutes drawn from its prescribed repertoire. Preparing the programme required me to sustain vocal control, interpret contrasting songs and consider how they worked together.

I sang in Eton’s College Chapel Choir, including on its Netherlands tour. Singing with others taught me to listen for changes in phrasing and sound and adjust my performance accordingly. In Eton’s selective competitive debating team, I use that attention to respond to objections and defend an argument under pressure. In 2025, I also received one of two annual House Arts Colours, awards recognising contributions to the creative life of my boarding house.

At Interlochen, I reached the final of a lip-sync competition in front of 2,000 people. My enthusiasm for performance extends comfortably from ancient verse to elaborate silliness, provided I have rehearsed.