DUANJU  NEWS

In just one year, London-based director Dan Löwenstein has established himself as the leading figure of vertical drama in the UK. With twenty series already produced for ReelShort, Joy Reels, and DramaBox, he has helped make the country a new hub for the format. His adaptation of Pride & Prejudice, released in spring 2025, marked a turning point and earned him critical acclaim. Löwenstein’s shoots are striking for their speed: up to 77 pages filmed in a single week, often with no more than two takes per scene. This fast pace attracts young actors eager to land leading roles, and it has shaped a growing professional ecosystem around the format. In Pride & Prejudice, praised by Vertical Drama Love (4 stars), Jasmine Kheen (Lizzie) and Connan Aaron (Darcy) bring a classic romance to life with contemporary energy. Balancing efficiency in direction with strong emotional tension, Löwenstein has developed a signature style that appeals both to audiences and platforms. Interview with Maëlle Billant In a conversation with Maëlle Billant, Dan Löwenstein reflected on his journey and ambitions. He recalled discovering the format in April 2024 with Mafia Lover, followed by his first viral success, Mafia Obsession. These early projects exposed him to the challenges of vertical drama: scripts written for massive budgets but shot with limited means. For Löwenstein, it quickly became an exercise in problem-solving—hiding constraints in the frame, moving quickly with actors, and maintaining a relentless pace of up to fifteen scenes per day. Casting plays a central role. While some clients still prioritize appearance over talent, Löwenstein insists on working with performers who can withstand the pressure. “My job,” he explains, “is to create a space where actors can express themselves—even under intense time pressure.” Looking ahead, he believes vertical drama must not remain confined to light romances. He hopes to see other genres flourish : crime, horror, British comedy, and science fiction and calls for more ethical treatment of sensitive topics. “There’s still so much to invent,” he emphasizes. “Vertical storytelling gives you the chance to be the first to try something.” Finally, Löwenstein revealed he is working on a UK-based vertical streaming platform, alongside a collective of writers and producers. The goal is to offer locally grounded stories designed for global audiences, with a beta launch scheduled for February 2026. #MaelleBillant Sources: • The Guardian , June 22, 2025 • Vertical Drama Love , May 21, 2025 • Courrier International , June 23, 2025

In London, Sea Star Productions is one of the young teams exploring the language of vertical storytelling. Under the creative direction of Bethany Thomson, the British company seeks to combine technical rigor with the joy of telling short stories. Between film and digital content, its ambition is simple: to create, learn, and bring new forms of storytelling to life. The vertical format as a testing ground Specializing in the production of micro-fictions shot for smartphones, Sea Star Productions approaches each shoot as a stylistic exercise in its own right. “We treat each episode like a mini-movie,” explains Bethany Thomson, who oversees creative and strategy for the studio. The teams come from film and television backgrounds, but adapt their methods to the speed of the vertical format, emphasizing spontaneity and rhythm. A European vision of micro-drama For Bethany Thomson, the vertical isn't just a passing fad. She envisions a natural evolution of the format, adapted to European tastes: social comedies, urban thrillers, intimate dramas, at the crossroads of genres. The studio wants to draw inspiration from the dynamism of Asia, while developing an identity specific to British culture. On set, the approach is collaborative. "The first time you step onto a vertical set, everything seems different: the framing, the direction of actors, the rhythm..." This framework allows young directors and technicians to quickly learn, experimenting with new methods. Sea Star regularly works with new talent and considers each shoot as a shared learning experience. The company also places a strong emphasis on distribution. Bethany Thomson sees marketing as a natural extension of creation: communicating is also about storytelling. Using social platforms like TikTok and Instagram, Sea Star combines emotion, storytelling, and visibility. The idea isn't to sell, but to involve the viewer in a universe. Under the leadership of its founder Dennis, the studio cultivates an atmosphere of trust and boldness. "If you believe in it, do it," he likes to repeat. This climate of freedom transforms Sea Star into a true collective workshop, where experimentation takes precedence over demonstration. For Bethany Thomson, this is what makes the vertical so vibrant: a space where you learn by creating, with no other ambition than to tell a better story. Interview by Maëlle Billant #MaelleBillant

In her new column Duanju Meet Africa , journalist and Africa correspondent Blessing Azugama explores the revolution of short-form storytelling across the continent. She begins with a striking observation: in today’s attention economy, the force that defines every creator’s visibility online, the length of a story no longer determines its impact. What matters now is the ability to captivate within the first three seconds. Blessing notes that fast and emotional storytelling has always been part of African culture. In markets and family gatherings alike, the art of narration thrives through stories filled with rhythm, tension, and emotion. This instinct to seize the listener from the very first line already foreshadows what micro-dramas achieve today on screens: intensity that is condensed, immediate, and visceral. According to her, emerging platforms like ReelShort and DramaBox show that a big screen is no longer required to move or surprise an audience, only a big feeling. With its wealth of languages and styles, Africa is uniquely positioned to thrive in this new era of vertical storytelling. “In the attention economy,” she reminds us, “victory doesn’t belong to the longest story, but to the one that moves us first.” #blessingAzugama

American director and choreographer Jenifer Yeuroukis is establishing herself as a rising star in vertical cinema. Coming from the world of dance, she has already created several duanju films in the United States, notably for the MyDrama and NetShort platforms. Her ability to combine direction, choreography, and intimate direction makes her one of the rare creators capable of giving the vertical format a true emotional grammar. Today, she is preparing projects shot in Europe, particularly in France. For her, duanju offers a new way of storytelling, faster, more mobile, and closer to the viewer. A transatlantic bridge for vertical cinema Jenifer Yeuroukis is currently developing several co-production projects to be shot in Europe, particularly in France, with local crews and American actors from short fiction platforms. The idea is to combine methods and talents to build a sustainable model. Europe, she explains, offers a production flexibility that the United States has partly lost under the weight of large unions. This new balance makes it possible to imagine lighter shoots, better adapted to the rhythm of the vertical format. "Each culture brings something valuable. None does everything perfectly," she summarizes. For the director, France could become one of the poles of this renewal, where American professionalism and the European tradition of auteur cinema would meet. Women at the heart of renewal This transnational approach is accompanied by a strong commitment to filming conditions and the place of women in the industry. Yeuroukis, who began as a choreographer before becoming a director and intimacy coordinator, defends a demanding but caring vision of the set. For her, respect for the body and human balance is inseparable from artistic quality. "There is economics, and there is pettiness: one builds an industry, the other destroys it," she reminds us. Through her technical rigor and directorial sensitivity, she embodies this new generation of female directors who are redefining the codes of filming: fast, precise, but deeply attentive to the human dimension of acting. Jenifer Yeuroukis illustrates the maturity of the vertical format. By seeking to unite Los Angeles and Paris, she traces the contours of a new cinema, more flexible, fairer, and resolutely global. Interview conducted by Maëlle Billant #MaelleBillant

American actor Michael Vaccaro discusses Game of Choice, a psychological thriller filmed for the Tallflix platform. In an interview with journalist Maëlle Billant, he recounts a demanding shoot that reflects the growing desire of creators to establish Duanju as a high-quality format capable of competing with cinematic productions. Filmed in Los Angeles with a crew and technical setup comparable to those of a feature film, Game of Choice illustrates a notable evolution in vertical filmmaking: greater resources, precision, and realism. Michael Vaccaro, who plays a priest facing extreme dilemmas, describes a shoot lasting several weeks, marked by physical and emotional intensity. "Some days I literally ended up on the floor, drained physically and emotionally," he confides. This demanding approach is evident on screen: the film, presented in Hollywood at a Halloween premiere, stands out for its meticulous direction, immersive sets, and the rigor of its performances. At the heart of the story is a game where the characters must confront impossible choices. Between love, family, and survival, Game of Choice explores the light and shadow within each of us. The script, which at times evokes Squid Game or Saw, distinguishes itself through its more introspective approach. "What I love is that there are no right or wrong answers," explains Michael Vaccaro. Game of Choice explores the gray areas of human nature, inviting each viewer to ask themselves: what would I have done in their place? For the actor, it is by further exploring the living and complexities of human nature that the vertical format can truly become an artistic space. "We're still at the beginning of Duanju, but if we want it to grow, we have to raise it to this level of intensity and emotion." Watch the series: https://st.tallflick.com/s/660ib5 Interview conducted by Maëlle Billant #MaelleBillant

In an interview with Maëlle Billant, Wenwen Han, producer and founder of the Short Drama Alliance, discusses her career and the release of her two seminal works: Short Drama Writing 101 and Future Playbook: China's Short Drama Ecosystem and Insights for Global Business . The latter, published on October 22, 2025, is available in English on Amazon in Kindle format (49 pages). A complete 143-page version is also available on Payhip . These two complementary books are aimed at writers, producers, and investors alike, all eager to understand the new economics of short dramas. In Short Drama Writing 101 , Wenwen Han shares a writing method adapted to this new narrative territory. She reminds us that Duanju is not a segmented film, but a format born for mobile screens, with its own grammar and constraints: accelerated pacing, short duration, and a focus on attention. The first ten episodes, free of charge, serve to test the audience's reaction before the paywall kicks in. The writing must therefore rely on immediate hooks, cliffhangers, and constant emotional tension. "The short drama should be considered an emotional product, not an educational one," she explains. The goal is not to impose a message, but to elicit a quick reaction and maintain the desire for more. Wenwen Han encourages screenwriters to start with the genres that already structure the platforms, CEO romances, rebirth stories, fantasy, before integrating their own universes. This approach is directly inspired by Chinese web novel culture, where authors constantly engage with their readership. This direct link between creator and audience, she believes, is the true strength of Duanju. Her second book, Future Playbook , is aimed more at producers and investors. In it, Wenwen Han provides a detailed map of the Chinese short drama ecosystem, which is currently two years ahead of the rest of the world. She explains that most of the major platforms originate not from film but from advertising or web novels. In China, nearly 80 to 90% of budgets are allocated to advertising, compared to only 10 to 20% for production. This distribution shapes the entire creative process: each series is conceived as an evolving prototype, adaptable to the market. She also highlights the decentralization of production to second-tier cities, where costs are reduced without sacrificing quality. For foreign players, she warns against the cumbersome models inherited from traditional studios: success now hinges on agility, the ability to test and adapt quickly. Finally, Wenwen Han sees artificial intelligence as accelerating this transformation. With tools like Sora, she envisions a world of creation open to all, where everyone can produce and monetize their own stories. The Short Drama Alliance aims precisely to support this global opening by training a new generation of creators and trainers united by a shared vision of digital storytelling. Through her two books, Wenwen Han does not simply describe a phenomenon: she offers a real user manual for writing, producing and thinking about Duanju as a fully-fledged cultural language. Order the book: Amazon Full version on Payhip (143 pages): https://payhip.com/b/jBRKF Interview conducted by Maëlle Billant #WenwenHan #MaelleBillant

For years, DramaBox has ruled the micro-drama space with outrageous billionaire romances and supernatural love stories, but now, the Singapore-based platform is rewriting its script. In an effort to outgrow its “guilty pleasure” image, DramaBox is expanding beyond werewolves and wealth to embrace something broader and surprisingly wholesome. The app’s next act includes family stories, kids’ animation, and choose-your-own-adventure dramas, all still built for the vertical screen: fast beats, close-up emotion, and music cues that land instantly. Richard Zhou, DramaBox’s Head of Global Content, said the goal is simple but ambitious: “to become the most popular micro-drama platform for American users and partners.” That means rethinking not just what people watch, but who they can watch it with. The company’s U.S. strategy leans on collaboration and innovation. It’s opening a New York office and was recently selected for the Disney Accelerator, joining the same program that supported Epic Games and ElevenLabs. By working with Hollywood creators, like viral storyteller Dhar Mann, whom DramaBox execs recently met, the platform hopes to merge social media sensibility with studio-level craft. DramaBox, part of Singapore’s StoryMatrix, has already proven the model works. According to Sensor Tower, the app has pulled in $450 million in global in-app revenue, trailing only slightly behind rival ReelShort. With its new direction, DramaBox isn’t just chasing numbers; it’s chasing longevity. In a time when Gen Z prefers YouTube over television and Hollywood struggles to recover from labour strikes and shrinking budgets, micro-dramas offer a new kind of storytelling economy. They’re cheap to produce (around $100,000–$300,000 per movie) and designed for the device everyone already holds—the smartphone. As Shicong Zhu, DramaBox’s LA-based head of studio, put it: “We don’t want to replace Hollywood; we want to empower it.” That might be the real story here: a vertical screen once known for guilty pleasures becoming a shared space for families, creators, and filmmakers to rediscover what storytelling looks like in the palm of your hand. Source:  Business Insider Article Written by Blessing Azugama #BlessingAzugama

The Nikon Film Festival is an annual short film competition launched in France by the camera brand Nikon. Open to all, it invites filmmakers, students, and amateurs to create a 2-minute 20-minute film on a set theme. In addition to extensive online exposure, winners receive awards, some of which are funded by the French National Center for Cinema and the Moving Image. Presented as a springboard for young talent, the festival nevertheless relies on a model where marketing sometimes seems to benefit the brand more than the creators themselves. Each year, thousands of films are produced and screened under the festival's name, organized by Nikon France. On paper, the initiative seems virtuous: a brand that celebrates creativity and gives new filmmakers a chance. But upon closer inspection, several gray areas remain. The regulations do not specify whether the works broadcast can generate monetization, nor whether creators benefit from any revenue sharing. The lack of transparency on this point raises questions, especially since the festival's cumulative audience directly contributes to the brand's visibility and communication. Each film thus becomes a vehicle for Nikon's notoriety: an artistic showcase serving its image, fueled by the volunteer work of hundreds of authors. This mechanism, where the brand gains recognition thanks to independent creations, is similar to a form of disguised advertising. Added to this is another question: the role of public funding. By providing financial assistance to certain awards, the CNC indirectly supports a system run by a private company. A single brand, Nikon, benefits from a competition that mobilizes public funds intended to encourage diversity and plurality of cultural initiatives. This concentration of support calls into question the very logic of collective funding placed at the service of a single commercial player. The paradox lies here: participants bring considerable symbolic and media value to the brand, but remain isolated from the potential economic benefits. The event draws on their creativity, their networks, and their audience, without any clearly defined redistribution. Should we therefore rethink this model? The Nikon Film Festival has undoubtedly helped to reveal real talent, but the question remains: who benefits most from this operation? The creator, or the brand that presents itself as a patron of creation? Article written by Guillaume Sanjorge #GuillaumeSanjorge Source : • Nikon Festival , 2025 • FilmFreeway , 2025 • Mediakwest , April 2025

While the micro-drama format remains largely unexplored by French critics, some observers are beginning to approach it with curiosity and openness. In an article published on Konbini, Delphine Rivet analyzes the rise of these vertical fictions born in China, designed for phone screens and consumed at high speed. She describes an ecosystem where storytelling adapts to the logic of contemporary uses: very short episodes, often mass-produced, but capable of generating strong emotional involvement. A lucid reading of the new rhythm of the series The journalist examines the ongoing transformation in detail: the compression of narrative, the effectiveness of dialogue, and the growing role of artificial intelligence in the creation and distribution processes. She emphasizes that these micro-fictions, far from being simple products of the algorithm, reveal new forms of writing adapted to mobile devices and the fragmentation of attention. This analytical perspective brings a welcome nuance to the debate surrounding the transformation of the serial format. In conclusion, Delphine Rivet calls for a renewed creative demand: " Let's demand series that challenge us, intellectually or emotionally! " A call to artists and authors: invest in this new territory, seize it with sincerity and ambition, and make duanju not just a simple format, but a space of expression where short, powerful and fully artistic works can be born. Source : • Konbini , October 15, 2025

Xiaomi has officially entered China’s booming short drama market with the quiet release of its new ad-free app, Watch Short Dramas (WeiGuan Duanju). The app, now available exclusively on Xiaomi’s own app store, promises “massive short dramas for free without advertisements” and has already drawn over 20,000 downloads since launch. Developed by Chengdu Share Information Communication Co., Ltd, a company wholly owned by Xiaomi Group, the app reflects the tech giant’s deeper move into entertainment distribution. Currently limited to Xiaomi and Redmi devices, Watch Short Dramas offers a lightweight, phone-native experience with a 23MB installation size. Its catalogue spans more than 20 genres, including romance, revenge, urban life, family, and CEO dramas. Built-in charts, comments, and community features hint at Xiaomi’s intent to create a more interactive storytelling ecosystem. This launch follows Xiaomi’s earlier experiment in July, when its Redmi brand collaborated with TikTok and Wanhe Tianyi to co-produce the short drama Partners in Time and Space. That project was primarily a marketing initiative, but the new standalone app marks a strategic pivot from using short dramas as promotional tools to building a full-fledged content platform. The timing is strategic. China’s short drama market continues to surge, valued at 50.4 billion yuan in 2024 and projected to reach 68.6 billion yuan in 2025, with more than 662 million users spending an average of 101 minutes daily watching micro-dramas. Major players such as Bytedance, JD.com, and Alibaba have already established strong positions in the space. Xiaomi’s entry underscores how consumer technology companies are expanding beyond hardware into content distribution, seeking to own both the device and the entertainment experience. However, the competition is fierce. The market suffers from content homogeneity, urban romance accounted for over 60% of the top short dramas in 2024, and regulators continue to raise the bar on quality and compliance. To succeed, Xiaomi will need to pair its design-driven philosophy with stronger storytelling and sustainable monetisation models. Still, this move represents more than just a new app launch. It’s a signal that short dramas are no longer a niche experiment but a defining frontier in mobile entertainment. As brands like Xiaomi step in, the line between tech and storytelling continues to blur, turning every phone screen into both a stage and a cinema. Article written by Blessing Azugama #blessingAzugama Sources : • Securities Times , October 15, 2025 • The Standard , October 16, 2025 • Futu News , October 15, 2025