Chinese producers are positioning microdramas as a key export vehicle while accelerating U.K. co-production partnerships, speakers said at the “Chinese Drama Trends” forum at Mip London, underscoring a dual-track strategy of global expansion and format diversification.
Opening the session, Bi Haibo, minister counsellor for press and public affairs at the Chinese Embassy in the U.K., said Chinese television has made “remarkable progress in thematic innovation, production quality and global distribution,” with more series “reaching audiences here in the U.K. and across the global serving as cultural bridges that connect people and foster mutual understanding.”
Bi also referenced agreements signed during U.K. Prime Minister Keir Starmer’s recent visit to China, including partnerships between China Media Group and British counterparts that he said had “expanded collaboration in the media and cultural sectors.”
Bi noted that since Feb. 17, China has implemented a unilateral visa free policy for U.K. nationals, “which will further facilitate people to people exchanges and practical cooperation between our two countries,” urging industry players to “take full advantage of this policy.”
Rupert Daniels, director of services and skills at the U.K. Department for Business and Trade, pointed to the scale of Britain’s creative economy – employing nearly 3 million people and exporting roughly £60 billion ($81 billion) globally – and cited existing collaborations such as the Chinese-language adaptation of “Inside No. 9” and co-productions involving BBC Studios, Tencent, Bilibili and Phoenix TV.
Qiu Yuanyuan, secretary-general of the Jiangsu International Communication Center at Jiangsu Broadcasting Corporation, moderated the discussion, which focused on how Chinese content can travel more effectively in international markets.
Gary Woolf, executive VP of strategic development at All3Media International, said globally viable projects require strong production partners and universal storytelling. “We’re looking at the quality of the production company… the quality of the idea… how universal some of the themes of that show might be,” he said, adding that distributors also weigh budget levels and commissioning broadcasters.
Guo Feng, chair of Yulele Media Group, said his company’s slate blends Chinese cultural specificity with universal themes. His wartime-set project “Tile Cat,” he said, centers on “family bonding… generational love… struggles between lovers and reconciliations,” arguing that “the theme is universal.”
While traditional long-form Chinese-language dramas face hurdles in Europe, Roy Lu, general manager of Linmon Media International, argued that microdramas present a more agile export pathway.
“We Chinese [are] very good at microdramas,” Lu said, noting that “roughly every day, we have 200 to 300 titles becoming available” in China. He added that the format’s rapid turnaround allows companies to test audience response and adjust quickly for overseas markets.
Qiu Zhengyang, deputy general manager of Hangzhou Jiaping Pictures, said his company now operates separate long-form drama and microdrama divisions. “I don’t think they will fight each other. I think they can be two parts of the future,” she said, arguing the formats will coexist rather than compete.
Liyanne Marie Manning, head of casting at Onset Octopus, described the production pace of U.K.-based vertical drama shoots, emphasizing the need for immediate audience engagement. “If you don’t get that on your screen in 30 seconds and that doesn’t hit then… I’ve not done a good job,” she said.
Qiu Qianyi, chief representative (Office of Hong Kong & Macau SAR) at Shenzhen Media Group, promoted Shenzhen as a growing hub for short-form production, highlighting the China International New Media Short Film Festival, which she said has received 60,000 short films from more than 200 countries and supported nearly 300 directors. She described the city as building “an ecosystem for the microdrama studio.”
Despite language and market-entry barriers, the overarching message was one of expansion – with microdramas emerging as a strategic tool for global reach alongside deepening U.K.–China production ties.