Over the last year or so, the subject of micro-dramas comes up repeatedly in conversations with those in the Korean film industry. These "vertical stories" are made for smartphones with episodes lasting between one and three minutes. With the Korean film market shrinking, these dramas have provided opportunities for filmmakers and crews to find work but there are questions about what this means for cinema and wider Korean content.

Vertical Stories Took off in China and then Across the World

Udine Far East Film Festival (FEFF)

This isn't just a trend in parts of the world; it's a phenomenon. They first appeared in China in around 2020. According to Pengnan Hu, a Post-doctoral fellow in the Department of Literature and Cultural Studies at The Education University of Hong Kong the market by 2024 was larger than the China box office. Hu was speaking via Zoom at a panel titled 'Vertical Stories: The Rise of Micro-Dramas' at the Udine Far East Film Festival (FEFF) in Italy in April. In his essay in the catalogue titled "What are Micro-dramas, and Why Are They Suddenly Everywhere, he writes "by 2024, estimates suggested the market was worth around $7.31 billion, more than China's 2024 box office of $6.15 billion." Hu also added "the overall user base for micro-dramas is estimated at 696 million in 2024, while the cinema-going audience is roughly 500 million."

It is not just China the format is experiencing growth in regions across the world. The US is the second biggest market "accounting for 38% of the revenue" stated Hu "followed by Japan (about 7%), Brazil (about 4.3%) and the United Kingdom (3.3%)." He also noted the expansion in other markets such as Turkey where revenue in 2025 has "increased by over 1000%, reaching about $18m."

According to analysis of mobile phone usage data in the US by Industry analyst Omdia, people are spending more time viewing vertical videos compared to Netflix, Disney + and prime video. Omdia estimated that global revenue for micro-dramas hit 11 billion in 2025 that roughly equates to a third of the global box office. The analyst projects that by 2030 it will surpass $20 billion. Its growth is too significant to ignore.

The Importance of Engagement, Female Driven Stories

Interestingly, as noted by speakers at the forum in Udine, many of the viewers are women with female-driven stories common. Chinese filmmaker Kunlin Wang who was part of the panel and has made micro-dramas including Make-up Sex (2024– ) that ranked No.1 in the US emphasized the importance of the female gaze. In an interview that was published in the FEFF catalogue she said "I deliberately maintain a female gaze, understanding that many of these shows are designed to evoke fantasy."

Many of the speakers at the event that also included the media strategist and executive Teng Lee Yein and Korean producer Katy Kim stressed the importance of tension and that micro-dramas only have seconds and not minutes to lure in viewers. Pacing is central and it's less about plot, more about emotional escalation and greater intimacy with many close-ups.

Korean Micro-Dramas

While Korea can be a market where things can change quickly, Micro-dramas in Korea are still in the early stages compared to China. That being said Korea's advanced infrastructure when it comes to storytelling and IP encompassing webtoons makes it a strong market for the format argues Katy Kim in a conversation with panel moderator Roger Garcia in the festival catalogue. Kim also argues "Korean audiences are already accustomed to paying small amount – 'coins' or micro-payments' - to unlock episodes, which means the monetization behaviour is deeply embedded in everyday consumption rather than something that needs to be taught."

Kim who is an executive producer and CEO at the local production company Chungkeum highlighted in Udine the impact financing from Korean game studios entering the field had made calling it a "gamechanger" with investors and the content industry seeing this form of content differently.

Omniscient Reader: The Prophecy (2025)

Such cases include the platform Vigloo that is backed by companies including Krafton and similarly Lezhin Snacks has secured investment from the gaming giant Kidari Studio. This comes as gaming companies are seeking to enter the wider content industry. Smilegate recently produced the science fiction blockbuster Omniscient Reader: The Prophecy (2025). It is worth noting that gaming remains Korea's leading cultural export and by a significant margin. In the final quarter of 2025 game exports reached $1.83 billion accounting for close to half of total exports. Its involvement in micro-dramas is telling.

So is the increasing number of high-profile directors and actors now working in the sector. Director Lee Byeong-heon known for his hits Twenty (2015) and Extreme Job (2019) collaborated with Lezhin Snacks on a "short drama" as they are referred to in the local industry. Titled Baby's Dad is My Guy Friend (2026) the series starring Bae Yoon-kyung dropped on the platform in February.

Extreme Job (2019)

Veteran filmmaker Lee Joon-ik who helmed The King and the Clown (2005) and Dongju: The Portrait of a Poet (2014) is also working with Lezhin on a micro-drama called A Father's Home-Cooked Meal that is based on a webtoon – also a vertical format – of the same name. The series features names from the Korean film industry: Jung Jin-young (The King and the Clown), Lee Jung-eun (Parasite (2019)) and Byun Yo-Han (Following (2024)). It centers on a man played by Jung who starts cooking at home after his wife suddenly forgets how to prepare food for her family.

The King and the Clown (2005)

These dramas follow several hits including the highly successful Convenience Store Veteran (2022) produced by Playlist Studio in collaboration with the convenience store chain CU. Available on YouTube, it follows a part-time worker called Ha-ru and clocked up 100 million views in 100 days.

Following (2024)

What this means for Korean cinema remains unclear. This rapidly growing sector is where there is financing, significantly lower budgets and opportunities but it is indeed possible that film and other forms of content can co-exist. It is worth stating at this point that young people who are consuming this content are also going to the cinema. A case in point is Salmokji: Whispering Water (2026) that has now accumulated more than 3 million viewers making it one of the most successful Korean horror films of all time. According to CGV, close to half the viewers at its cinemas were under 30. It was directed by Lee Sang-min, a filmmaker who is 30 years old.

Written by Jason Bechervaise
Edited by kofic