By Cao Shiyun, People’s Daily
In recent years, Chinese micro-dramas have achieved remarkable success in overseas markets, especially across Southeast Asia, largely driven by streaming platforms.
Over 300 overseas apps now offer Chinese micro-dramas through various distribution channels. In 2025, global downloads are projected to reach 1.21 billion, with overseas revenue expected to total $2.38 billion, reflecting strong and sustained growth.
On TikTok, the Chinese micro-drama The Story of Suzhou, which centers on the preservation of traditional culture, has gained widespread popularity. Audiences from Thailand, Indonesia, Malaysia, and other countries have been sharing their responses in multiple languages, praising its visually poetic scenes and calling for the addition of subtitles in their native languages so they can watch it with family.
As the industry accelerates its global expansion, Southeast Asia has emerged as a key market. These micro-dramas are typically shot in vertical format, featuring fast-paced storytelling and distinct themes. Each episode is under 3 minutes long, with series totaling between 50 and 90 episodes, covering diverse genres such as urban romance, family ethics, fantasy, and suspense.
The strong narrative conflicts and uplifting emotional expression have captivated many Southeast Asian viewers, fostering sustained engagement. Additionally, the portrayal of China’s natural landscapes, traditional attire, and modern urban scenery has sparked growing interest in the country among audiences in the region, directly contributing to a sharp increase in downloads of Chinese micro-drama apps overseas.
As content genres grow increasingly diverse, distribution channels are also becoming more varied. Since 2025, Telkom Indonesia, the largest telecom operator in Indonesia, has collaborated with the Chinese micro-drama platform FlexTV to introduce exclusive viewing packages, allowing Indonesian users to access Chinese micro-dramas more conveniently and affordably.
Meanwhile, DramaBox, a platform operated by Dianzhong Tech — a company focused on producing and distributing licensed mobile digital content–has partnered with local telecom providers across Southeast Asia to roll out integrated “data + content” bundleds, further lowering barriers to access.
Luo Chuanyu, deputy director of the China-ASEAN Research Institute at Guangxi University, observed that micro-dramas transcend linguistic and cultural divides through engaging narratives and authentic depictions of everyday life. Furthermore, by extensively featuring contemporary Chinese urban lifestyles and technological advances, they offer Southeast Asian audiences a more vibrant and relatable portrait of modern China, thereby fostering increased two-way cultural exchange and inspiring localized innovation.
“I often watch Chinese micro-dramas to unwind and have downloaded several dedicated apps,” shared Farrell, an Indonesian university student. He is particularly drawn to series depicting Chinese youth lifestyles, noting, “Seeing peers’ experiences in China feels relatable. Southeast Asia and China share many similarities, so I often recognize aspects of my own life in these stories.”
“The plot designs in Chinese micro-dramas align closely with the aspirations of Southeast Asian audiences for fairness, hope, and a better life, making emotional resonance almost effortless,” noted Drajat Tri Katono, a sociologist at Universitas Sebelas Maret in Indonesia. He pointed out that content which remains grounded in reality and meets widespread psychological expectations often bridges cultural differences and gains broad acceptance.
Cultural affinity is a key factor in the genre’s regional success. Singapore’s Lianhe Zaobao pointed out that the region’s large ethnic Chinese population serves as an important bridge. In areas such as family ethics, views on marriage and relationships, and workplace values, Southeast Asian societies share many commonalities with China.
Earlier classics like Justice Pao, The Legend of the Condor Heroes and Journey to the West had already built a sizable fan base among overseas Chinese communities, laying a deep foundation of cultural affinity for today’s micro-dramas.
Southeast Asia’s distinctive consumption landscape offers fertile ground for the overseas expansion of Chinese micro-dramas. The region features a young population with a high share of youth, adaptable spending habits, and a strong openness to new forms of cultural and entertainment content — all contributing to substantial market growth potential.
Moreover, a large and expanding internet user base, growing internet penetration, and substantial time spent online have collectively fostered the adoption of digital payment methods among local users, creating favorable conditions for the dissemination and commercialization of micro-dramas. Data indicate that in 2025, paying micro-drama users in Southeast Asia increased by 28 percent year on year, solidifying the region as a core market with both commercial viability and a solid audience foundation.
At present, many Chinese micro-drama companies are extending their industrial chains overseas by setting up production centers in countries such as Thailand and the Philippines, exploring new models that feature localized creation and distribution.
Jiuzhou Wenhua a company in Jiaxing, east China’s Zhejiang province has partnered closely with Southeast Asian production teams to establish content creation hubs and launch a dedicated micro-drama platform tailored to regional audiences. To date, the company has produced more than 600 micro-dramas for overseas markets, about 20 percent of which were originally created by overseas teams, reaching a total overseas audience of over 10 million.
Copyright licensing and format adaptation have also become key pathways for localization efforts. Indonesian digital media operator IDN Times has acquired the rights to Chinese micro-dramas while establishing a local production division, adopting their narrative pacing and creative techniques to produce content tailored to regional audiences.
“Micro-dramas align well with the viewing preferences of young people today and act as an effective cultural bridge connecting young people across nations,” noted Garin Nugroho, a prominent Indonesian director. He emphasized that the potential of this format should not be underestimated.
