Chinese short dramas are gaining overseas audiences. In Europe, producers are exploring local stories, AI-assisted production and new business models.
A US social media user recently posted several stills from Chinese short dramas and asked followers: “Who is this amazing actress? Can anyone tell me her name?” In the comments, she said she had been watching Chinese short dramas almost every day for the past year.
Interest in the format is spreading beyond North America and Southeast Asia. On October 27th, the 2026 China-Europe Short Drama Summit and the AIME awards 2026 took place in Paris. The event brought together China’s fast-growing short-drama industry and Europe’s long-established screen sector to explore opportunities for cooperation.
China now accounts for more than 80 per cent of the overseas short-drama market, according to industry figures cited in the Chinese report. As the format gains ground, European producers are looking beyond imported content. They want to understand how Chinese companies produce short dramas at scale, reach audiences and generate revenue.
From Market Potential to Practical Cooperation
The summit was jointly organised by the European Micro Drama Association and French short-drama company MINI CLAP.
The awards reflected the participation of creators from both China and Europe. Croatia’s Nanobit won the Best AI Innovation Award, while French creator Benjamin Berjon received the Best Poster Design Award. Chinese teams led by He Haiyuan and Tang Jinghai won the Best Screenplay Award and the Jury Special Award, respectively. The top prize went to Courier of the Underworld, produced by Wang Sheng’s team in China.
Two roundtable discussions focused on what European audiences want from short dramas, how content can be adapted for local markets, and how AI can support creative work while meeting legal and regulatory requirements.
The discussions reflected a shift in focus: the question is no longer simply whether short dramas can succeed in Europe, but how producers can make them work in practice.
Elliott Grieve, founder of the UK’s Raindance Film Festival, highlighted the potential of short dramas and AI-assisted production to reshape the film industry. He said the format challenges traditional filmmaking conventions. Its compressed storytelling also encourages creators to focus on the core of a story and its emotional impact.
Audience Growth Meets the Challenge of Profitability
The market figures suggest that short dramas have attracted substantial overseas audiences.
According to the 2026 China Short Drama Overseas Market Report, overseas short-drama apps recorded a combined 2.148 billion downloads in 2025, while in-app purchase revenue exceeded US$2.058 billion (about £1.54 billion).
Data monitored by Omdia also showed that users of some short-drama apps in the US watched for an average of 35.7 minutes a day. This was higher than the corresponding figures for Netflix and Disney+, according to the report.
In Poland, users spend around 25 minutes a day watching short dramas, comparable to viewing time on mainstream streaming services’ mobile apps.
However, audience growth does not guarantee sustainable profits. For European producers, the cost of acquiring users is a major concern. Advertising on Instagram and other Meta platforms can be expensive, with marketing costs sometimes approaching the revenue generated.
As a result, many industry professionals are looking beyond simply importing Chinese productions. They are interested in the production methods and commercial strategies behind China’s short-drama business, while exploring ways to develop content for local audiences.
Some producers also see opportunities beyond direct payments from viewers. Brand placements and advertising could offer alternative revenue streams, drawing on models used by traditional television dramas.
From Dubbing to Stories Made for Local Audiences
Chinese short dramas initially expanded overseas by adding subtitles or dubbing to productions that had already proved popular at home. This approach allowed companies to launch content quickly and at relatively low cost.
However, translation alone can struggle to convey cultural references and dialogue naturally. As a result, producers are exploring more ways to adapt their content to local markets.
One approach involves Chinese teams filming overseas and working with local actors and screenwriters. The aim is to tell stories that resonate with local audiences through familiar faces and cultural settings.
The Quarterback Next Door, released in the US in 2025, combined sports with relationship-driven storytelling and received international recognition, according to the Chinese report.
AI-assisted productions offer another option. A traditional live-action short drama can take around three months to develop and release, while some AI-assisted productions can be completed in seven to 10 days. The shorter production cycle can also help teams test different genres and respond to audience feedback at lower cost.
For example, One Move God Mode combines Greek mythology with a Chinese-style underdog story, while The Discarded Ace uses AI-generated actors, facial expressions and voices to tell its story.
Producers are also paying closer attention to regional preferences. Some industry professionals say audiences in Southeast Asia respond well to stories about family relationships and personal growth, while viewers in Europe and North America tend to place greater emphasis on individual choices and values.
To bridge these differences, some platforms are working with local production teams and cultural consultants. The aim is to move beyond translating existing content and towards creating stories with local partners.
For China’s short-drama industry, success in Europe will depend on more than reaching new audiences. It will also require working with local creators to make stories that resonate with European viewers and finding ways to turn them into a viable business.
Written by Weijia.
If you like this article, why not read: Can Live-Action Short Dramas Survive the AI Wave in China?
