Behind the global storm of ultra short dramas: “Watch 1 minute, binge all day”

Not only thanks to dramatic plots, this format is also the key that opens a “convenient” entertainment door for everyone, from busy office workers to homemakers.

Ultra short dramas: Rescuing “dead time” in a hectic rhythm of life

The ultra short drama market is writing a new chapter for the entertainment industry, with the secret of success lying in its ability to fit perfectly into viewers’ brief moments throughout the day.

Viewers only need a few minutes on the phone to finish an entire episode with diverse content. The vertical format, optimized for the smartphone, an item familiar to almost everyone, makes the experience even more convenient and suitable for today’s busy pace.

On metro rides, buses, lunch breaks, or before bedtime, just a few minutes on the phone and viewers can finish a short episode. Shot in vertical format and optimized for the phone, a must-carry object in modern society, short films hook viewers with key elements: brevity, novel tropes, and fast pacing.

The rise of ultra short dramas is creating a true earthquake in global cinema. Booming after the pandemic, within just a few years, China’s ultra short drama market grew tenfold, reaching an estimated value of 5.3 billion USD in 2023 and projected to hit 14 billion USD by 2027.

In international markets, ultra short dramas have reached revenues of about 96 billion USD, more than 2.5 million billion VND. In the United States alone, this format contributes 60% of total international revenue. A typical case, the series “Forbidden desires: Alpha’s love,” has revenue of more than 10 million USD, more than 261.165 billion VND, in the U.S.

What makes these films sweep the market “so fast, so furious” like this?

“Ultra short films are characterized by small production scale and short production cycles. We shoot the entire film within 7 to 10 days and release online within three months,” said Ngô Phúc Giang, producer at Guangzhou Jinfan Network Technology.

One example of a low-budget, high-profit film is The Divorced Billionaire Heiress, with production costs under 200,000 USD but a North American hit that grossed 35 million USD. “Compared with long TV dramas, short series are produced and monetized more efficiently,” said Bạch Sa Sa, founder of a media company in Beijing. “They are faster, lighter, and easier to scale.”

The success of ultra short dramas comes not only from production process, but also from how they reach audiences. The Economist once likened ultra short dramas to the “love child” of TikTok and Netflix. They are designed for the smartphone generation, suited to vertical viewing habits, with fast tempo and simple yet full-of-twists plots revolving around popular themes like romance, office drama, palace intrigue, or time travel. Titles are crafted to spark curiosity and are attached to today’s hottest social platforms, such as “The trillionaire CEO wins back his wife after three years without seeing her face,” “The revenge of the daughter-in-law with an IQ of 600,” or “A poor worker changes his life thanks to a torn wallet.”

“Short films focus on small themes of personal emotional life, telling stories that are easy for audiences to understand and that satisfy their emotional needs,” said Tăng Bội Luân, a media researcher at Fudan University. Companies are also finding their way to international markets with stories tailored to each place, such as werewolves, vampires, and billionaires.

It is precisely the brevity and surprises that become a mental “snack” in modern life. Ultra short dramas have crept into daily routines, from lunch hour to evening breaks, from bus stops to metro lines. As Bảo Ngọc, 25, shared, these shows are purely entertaining, simple in content, “not brain-hurting,” giving her laughs to relieve stress after a tough workday. “Not only young people, my mother is also obsessed with vertical short dramas tied to Facebook and TikTok, gasping at every twist,” Hà Trang wrote on her personal page.

Vietnam: YeaH1 pioneers the ultra short content market

In Vietnam, many players have quickly caught the global trend, with YeaH1 Group standing out as a pioneer in shaping this promising ultra short content market.

Alongside premium titles like Anh Trai Vượt Ngàn Chông Gai, Chị Đẹp Đạp Gió, Gia Đình Haha, and Tân Binh Toàn Năng, YeaH1 has invested strongly in the new entertainment stream, applying a global “golden formula” around Cinderella and tycoon romances and strong modern female-lead stories.

Tú Vi, the “Chị Đẹp” who made waves, starred in the short film “Dâu Hào Môn.”

Projects such as Dâu Hào Môn, Dỗ Dành Vợ Yêu, Chị Ơi Làm Nũng Em Đi, and Dẫn Dụ Em Vào Lòng have proven effective, with Dẫn Dụ Em Vào Lòng once rising to number 3 among the most discussed topics on social media.

The short-form slate has affirmed credibility and strong success thanks to robust investment in casting. Audiences have been amazed by the participation of many big stars with standout performances.

Among them, “Chị Đẹp” Tú Vi caused a stir with her role in Dâu Hào Môn, and Thùy Trang, a seasoned actress with more than 18 years of experience, left a mark in Mẹ Lao Công Học Yêu. Đàm Phương Linh, the lead of nationwide top-rated films from Vĩnh Long Television, joined the series Dỗ Dành Vợ Yêu. Notably, Ngọc Huyền, a famous VTV actress, also made her first appearance in the short film Dẫn Dụ Em Vào Lòng, alongside veteran Vietnamese screen faces such as Đoàn Minh Tài, Kiều Trinh, and supermodel Dương Yến Ngọc.

Ngọc Huyền, a renowned VTV actress, made her short-film debut in “Dẫn dụ em vào lòng” and quickly achieved success.

The presence of these names not only raises quality but also cements the position of short films in viewers’ minds, creating a positive shock for the entertainment industry.

Nguyễn Quế Tiên, Chief Operating Officer of YeaH1’s Digital Content Division and Deputy Director of MangoPlus, said: “We believe that investing in actors with recognition, real capability, and looks that fit the character is the key factor to lift content quality. The participation of famous stars not only attracts audiences but also creates artistic value for the product. At YeaH1, we always focus on selecting suitable actors to deliver short-film experiences that are high-quality and memorable.”



Nguyễn Quế Tiên, Chief Operating Officer of YeaH1’s Digital Content Division and Deputy Director of MangoPlus

This success proves the ability of domestic players to produce content that keeps pace with global trends. Short films are not only “money trees,” they are also gateways for brand promotion, affirming cultural and commercial reach.

With the ability to “hit the psychology” of viewers and with ultra fast, ultra compact production, the ultra short film market clearly has plenty of room to grow. The question is whether ultra short films, the ideal companion for office workers and homemakers, can become a new boss, overtaking traditional giants, and whether countries that are not cinema powerhouses have a chance in this race if they can turn the advantages of ultra short production into competitive edges of their own. What opportunities will there be for Vietnam if we catch this global trend correctly. A special segment in the modern global entertainment market is truly opening for Vietnamese producers to break through and make a name in the race ahead.