Small screen, big impact: ‘Micro-dramas’ disrupting multi-billion movie industry

ZHENGZHOU: Within the walls of a mediaeval Chinese castle, 69-year-old Zhu Jian is busy shaking up the world’s second-largest movie industry. On the lavish set of ‘Grandma’s Moon,’ Zhu stars as a powerful patriarch, showcasing his acting chops in a milestone birthday scene that descends into chaos, only to be expertly quelled by his character’s commanding presence.

Zhu is not filming for cinema screens. Instead, “Grandma’s Moon” is a micro-drama, composed of vertically shot, minute-long episodes featuring plot twists designed to keep millions of viewers hooked to their mobile phone screens – and paying for more clips.

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Kuaishou, an app beloved by China’s older generation and gig economy workers, reigns supreme in the country’s thriving $5 billion micro-drama industry. Astonishingly, this platform produced 60 per cent of China’s top 50 micro-dramas last year, cementing its status as a creative powerhouse.

Initial episodes on such apps may be free, but to complete a micro movie like “Grandma’s Moon,” which has 64 clips, audiences often have to pay tens of yuan.

Micro-dramas’ revenue model relies on suspenseful storytelling, leveraging cliffhangers to encourage viewers to pay for subsequent episodes. By ending segments with dramatic reveals, producers capitalise on viewers’ curiosity, making them pay while they watch the shows during their commute or while in line at a grocery store.

“Just when you’re fully engaged, right at the most exciting part, when you’re hooked and can’t stop, it stops, and you have to pay,” Zhu said, explaining that this is how micro-dramas operate to survive.

Micro-dramas like “Grandma’s Moon” are captivating audiences with tales of revenge and rags-to-riches transformations, marking a departure from traditional Chinese blockbusters’ focus on patriotism and military themes.

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Zhu, a self-proclaimed film buff inspired by Ingrid Bergman’s iconic performance in “Casablanca,” surprisingly dismisses the artistic merit of his own industry. “While long dramas are like a lavish feast, micro-dramas are more like fast food,” he says.

The boom in micro-dramas has brought scrutiny from the Communist Party. Between late 2022 and early 2023, censors removed 25,300 micro-dramas, totaling close to 1.4 million episodes, due to their “pornographic, bloody, violent, low-brow and vulgar content,” according to state media. In June, the government began tightening its grip by requiring creators to register their work with the authorities.

Vertical filming and distribution through social media apps mean micro-movies can be made with small overhead costs. Market research data show budgets for such films range from between 200,000 yuan ($28,000) and 2 million yuan ($280,000).

In the central Chinese city of Zhengzhou, “Grandma’s Moon” is being made with a compressed budget and timeline. When Reuters visited the set in July, the filming day stretched until 2 AM, at which time the crew moved to a new location and began shooting again at 7 AM.

Despite the gruelling pace of micro-drama production, Zhu, a vibrant and energetic figure, stays on top of his game. When the cameras stop rolling after just six days, he unwinds with table tennis, keeping pace with the youthful crew.

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As micro-dramas capture larger audiences, salaries for leading actors have skyrocketed. Zhu notes that main cast members in high-profile productions can now earn over $560 daily, a stark contrast to extras’ meagre $17.

A retired railway employee who started acting in the 1970s in a theatre troupe attached to the unit where he worked, Zhu now lives off his pension and acting gigs.

Zhu’s next shoot was scheduled for eight days after his wrap on a rainy day in Zhengzhou, a production hub for micro dramas. He mentioned in the taxi ride home that he could finally get some rest.