Cultural crossover with vertical short films

Impressive growth

These apps, with a parent company or controlling shareholder in China, have demonstrated impressive revenue growth. According to an Omdia report, a global technology research and advisory firm in London, Dramabox saw a 2,550 percent year-on-year increase, Shortmax grew by 3,888 percent, and Reelshort's revenue surged from $36 million in 2023 to $214 million in 2024.

According to another report, the 2024 China Micro Short Drama Industry Research Report, released by the Shenzhen Media Group, the Audiovisual Arts Research Center of the Communication University of China and the China Television Drama Production Industry Association, the number of short drama users in China reached 576 million in 2024. The domestic micro-short drama market has expanded to a value of 50.5 billion yuan ($7 billion).

Internationally, these platforms have replicated China's commercial model for vertical short dramas, which has proved effective in increasing user engagement and monetization across various markets.

Driven by a similar user capture logic, the short drama and vertical film industry is growing rapidly, especially in North America, where several platforms have already established a dominant presence.

For short drama creators operating in North America, this is more than just some commercial projects; it is a process of cultural exchange.

Especially when filming in the US in English dialogue and primarily targeting English-speaking audiences, they bring together a diverse group of talented individuals who bridge the cultural gap.

For example, while speaking with the actors, director Lee realized that in US culture, a nosebleed typically occurs due to a physical collision, rather than having a romantic connotation for local audiences.

The cultural differences underscore that producing a short drama is a collaborative effort, necessitating coordination among the producer, director, screenwriter, crew, local actors, and the production company, which has experience in both cultures.

Lee said she came to the US for graduate school and wasn't deeply familiar with its culture at first. That's why, as a director, she's "open to discussion and changes" when it comes to adapting scenes, so they resonate better with US audiences.

Besides changing the plot and dialogue, deeper localization adjustments are sometimes needed. For example, Lee also once directed a vertical film based on a fictional gang story from China.

"Some aspects of the gang's style were originally influenced by Chinese culture," she said. "But once we set the story in the US, we had to localize things — the way the gang members talked, how they dressed, their overall vibe. We didn't keep the Chinese elements."

Short dramas are usually fast-paced and tightly structured. In the North American market, there are two main formats: one involves shows produced in China with English subtitles added later, while the other, which Lee is working on, takes a more localized approach. In this format, Chinese production companies provide the scripts, but casting and filming are done locally with overseas crews to better connect with international audiences.

"The structure and core storyline of a good Chinese script can definitely be preserved," she said. "Some of the actors I work with understand that these scripts are originally written in Chinese, translated into English, and then the bilingual team makes a few adjustments. They often take the initiative to tweak their lines to make them sound more natural in English, which is really helpful for us."

"They also understand that many of us didn't grow up in the US, so there are bound to be some linguistic differences," she added. "It takes teamwork to make it work."

Lee explained that during the filming of the short drama, she was also responsible for coordinating between platforms and local actors.

"Short dramas are highly commercialized. Platforms often analyze data based on so-called 'high points' or 'viral moments' — maybe it's a kiss scene or an intense fight — and then we incorporate similar elements into new shows," Lee introduced.

"I wouldn't just tell the actors, 'Do it this way because the data says so.' It's more about using a few tricks and guiding them on how to perform in a way that gets better results on screen. It's all about finding a win-win."

Lee's very first series broke the record for generating over $1 million in-app purchases in a single day.

"I've always wanted my work to reach more people. I'm not just making content to entertain myself or express my own ideas. In New York, there aren't many opportunities for commercial filmmaking — most people are working on traditional films, magazines or ad shoots. That's why short dramas became a project where young directors like us could really take the lead," she said.

"For me, this is more of an exploration. It's a great way to try out different genres and collaborate with people from all kinds of backgrounds."

Timmy Liang, producer of White Elephant Studio behind several hit short dramas in North America, described short dramas as a format that "sits between advertising and film".