DUANJU  NEWS

During the screening organized by the Studio Phocéen association on June 14, 2025 in Paris, Alexandre Perrin and Adrien Cottinaud presented StoryTV, their streaming platform dedicated to vertical micro-series designed for mobile. Formerly a creative director at Chefclub, Alexandre Perrin comes from a social media background and has mastered the codes of mobile attention. Adrien Cottinaud, who has a background in classic television writing, brings expertise focused on emotion and the art of suspense. Together, they design series that hook the viewer from the first second: "The idea is not to copy TV, but to tell a different story," Alexandre Perrin explained during the event. The platform offers micro-series of 1 to 3 minutes per episode, filmed vertically, with a fast narrative rhythm and a structure designed for viewing on smartphones. During their presentation, they detailed how the integration of cliffhangers every 20 to 30 seconds promotes retention and sharing. A market to conquer Story TV's founders insist that the European market is still "virgin" in terms of high-quality production duanju, while Asia is already saturated. In the interview given to Vertical Drama Love on June 29, 2025, the co-founders point out that the vertical format is already dominant in Asia and is rapidly gaining ground in Europe. They also discussed, to Investisseur TV on June 9, 2025, a business model combining free, ad-supported broadcasting and premium subscription offerings, with an opening to co-production to accelerate the development of original content. Sources: • Investor TV , June 9, 2025 • Vertical Drama Love , June 29, 2025

At the event organized by the Studio Phocéen association on June 14, 2025 in Paris, Jenny Rosen, an American screenwriter specializing in vertical fiction, shared her experience and vision of the sector. Based in Los Angeles, she now writes for platforms like Duanju Reelshort and Alta TV after having learned her trade on Wattpad, a site that allows authors to publish their stories for free and readers from all over the world to discover them. Her stories have accumulated more than 25 million readings, and her novels, published by Hachette Book Group , have been noticed by media such as Der Spiegel and OK! Magazine. Coming from the world of web novels, Jenny Rosen was quickly seduced by the vertical format and its short, addictive rhythm. According to her, the serialized plots punctuated by final suspense (a technique already effective on Wattpad), lend themselves perfectly to vertical episodic videos. "These serialized stories, carried by twists and turns that give a dopamine hit, already worked in the world of web novels. Transposing them into even shorter formats is very exciting," she explains. Joining Reelshort allowed her to “supercharge” this storytelling and adapt it into very short and dynamic episodes. Jenny Rosen has also observed “incredible growth” in audiences in recent months, particularly among young adults and the TikTok generation. She says she is “very excited to see more writing moving in this direction,” and emphasizes that there is strong potential to create bridges between traditional publishing and vertical fiction: “There are a lot of codes and trends in literature that can directly inspire our mobile scenarios.”

At the event organized by the Studio Phocéen association on June 14, 2025, Veronica Angeles-Franco offered an insightful look at the rise of vertical fiction in Latin America. Between the legacy of telenovelas and new writing dynamics, this Mexican producer and screenwriter drew on more than twenty years of experience in the audiovisual industry to share a rich and inspired vision. For someone who has worked in Mexico, the United States, and South America, the vertical format is a revolution in continuity. "Mexico is famous for its telenovelas ," she recalls, but mobile storytelling imposes a different rhythm. Where traditional television installs a twist every fifteen or thirty minutes, vertical fiction demands suspense every two minutes and not just a change of tone, but a real reversal. This constraint disrupts the script construction: the episodes must hook from the first second, surprise regularly, and maintain attention until the end. "It's a new way of writing ," she explains, which requires integrating editing, staging and dramaturgy into an ultra-condensed format. Between tradition and innovation Veronica Angeles-Franco sees the vertical format as a reinvented telenovela: the same emotional and narrative elements, but condensed to appeal to an audience watching on smartphones, in a fast-paced and competitive stream. This shift, far from impoverishing the writing, opens up a new creative field, she says. Drawing on her heritage in popular soap operas, the Latin American expertise she champions constitutes a strategic asset for excelling in this new language.

In the world of dubbing, some careers emerge from unexpected sources. In Amiens, Tony Leva forged his own path by assembling a team of actors who today give a French voice to mobile series from Asia. His work illustrates how duanju, a short, vertical format, is beginning to resonate with French speakers. From freelance to studio creation It all began on the Fiverr platform. Contacted by a Chinese client, Tony Leva agreed to put together a team to dub vertical format fiction. Within a few weeks, he managed to bring together actors working from their home studio. Together, they produced their first dubbing assignments for series intended for Stardust TV and Netshort. Among the titles already released are Pratique Fatale, Chaos Martiale and Le milliardaire fugitive devient mon mari . With this experience, he founded SyncLab Studio, an independent French-speaking dubbing studio dedicated to fiction and video games. The objective is clear: to offer professional quality to French versions of international productions, while structuring a still nascent offer. Present at the meeting on June 14 On June 14, 2025, at the evening organized by Studio Phocéen association in Paris, Tony Leva was among the official guests. Alongside creators, producers, and actors from Europe, America, and Asia, he presented his work and shared his experience.

Amid the hustle and bustle of American studios, one actor quickly made the leap into duanju: Michael Vaccaro. A New Yorker living in Los Angeles, he started out as a child, working in films, commercials, and theater, before finding himself, like many others, interrupted by the health crisis and the strikes that paralyzed Hollywood. It was then that he discovered a new playing field: verticals, or duanju, short fictions designed for mobile devices. As the first American vertical productions were released in 2023, Michael Vaccaro jumped right in. Two years later, he'd already shot 31. "My entire recent career has been in this space," he explains. From wealthy, tyrannical CEOs to flamboyant comedic characters, he explored the archetypes that still dominate the genre, while also seeking to expand its contours. For him, the experience is both an artistic challenge and a real chance to continue working in a fragile industry. While verticals are sometimes criticized for their modest budgets and stereotypical stories, Michael Vaccaro sees them above all as an opportunity. In a Hollywood marked by declining production, successive strikes, and competition from platforms, these fictions offer work and visibility. "Verticals are no longer marginal: we film in Los Angeles, but also in London, Bogota, Istanbul... It's a global format," he emphasizes. For an actor, it's an opportunity to travel, meet new audiences, and expand their repertoire. Beyond simply being an economic alternative, Michael Vaccaro emphasizes the changing outlook on verticals. Productions are becoming more professional, budgets are increasing, and the first formative events are appearing. In the United States, Vertfest brought together actors and fans for the first time around panels and screenings. In Europe, Jen Cooper created the Vertical Drama Awards. Even in China, RealShort honors its best productions. These are all signs of a nascent artistic recognition that is pushing the format beyond its initial image as simple, quick entertainment. Michael Vaccaro is excitedly looking to the future. His latest project, Game of Choice, with an estimated budget of over $500,000, stands out for its visual and narrative ambition, far from the usual clichés. "This might be the vertical that will prove that we can break out of the romance-conflict paradigm," he hopes. And he's already dreaming bigger: why not a musical vertical? His message is clear: if the format continues to invent itself, to surprise and to professionalize itself, it can offer a space of unprecedented creativity for both actors and spectators. #MaelleBillant

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