Duanju is a mini-series in a vertical 9:16 format designed for smartphones.
Born in China, the format is now experiencing international growth and inspiring a new generation of creators.
The word "Duanju" comes from Chinese and means "mini-drama." This original format can also be referred to by other terms such as micro-series, short drama, vertical drama, micro drama, short-form series, and mobile-first series.
However, the term "vertical drama" seems most appropriate since the main point of differentiation is not the short length of the episodes but rather the vertical format, which makes viewing on smartphones easier than traditional formats.
Each mini-series consists of several dozen episodes lasting between 1 and 3 minutes, and many shots, even entire episodes, are produced using artificial intelligence tools, enabling low-cost industrial production.
Several Chinese players such as ReelShort, which has over 11 million followers on Instagram and 8.2 million on TikTok, ShortMax (15 million followers on TikTok), and Singapore-based DramaBox (13 million followers on TikTok and 7.3 million on Instagram) have democratized this new format, which is worth nearly $8 billion in China, according to MEDIA PARTNERS ASIA, which conducted an in-depth study on the subject.
Arrival of the first African players
In Africa, the practice began to develop, particularly based on Chinese Duanju, and a few vertical drama production initiatives are beginning to emerge.
- Binyuma TV (Uganda) is presented as the first local platform for vertical dramas, launched in Kampala by Edwin Ruyonga and Ivan Kasagama. It is positioned as an app dedicated to African vertical dramas, with its first title announced as "The Love Network Jam," consisting of 20–50 ultra-short episodes (less than a minute long).
According to the Streaming Radar website, Binyuma TV plans to launch on Android and iOS, first in East Africa and then across Africa within 12 months, with monetization designed for East African markets and the diaspora via a hybrid mobile money/credit card model. The team emphasizes that "Africans already watch Asian and American vertical dramas," but that African stories are lacking in this format, hence the idea for a dedicated platform.
- Mansa, the free streaming platform dedicated to international Black content, is integrating vertical dramas into its existing AVOD offering in the United States as well as in several African countries (Nigeria, Kenya, Uganda, and South Africa). Rather than a separate app, Mansa is adding a vertical section to its existing platform to reach an African and African diaspora audience already familiar with its content. Two titles are currently available on the platform: "The Heiress, The Baller & The Secret Society," a romantic thriller consisting of 27 episodes, and "Baselines," consisting of 22 episodes.
What sets Duanjus apart from vertical micro-series found on TikTok, YouTube, or Instagram is their business model.
Each Duanju app operates on a freemium model: the first episodes are free; subsequent episodes cost around one dollar each and are triggered by cliffhangers that are strong enough to generate micro-payments. Revenue therefore comes neither from advertising nor sponsorship nor subscriptions, but exclusively from micro-payments per episode.
Can such a freemium model take hold in Africa? That is the question.
In China, a series of vertical dramas called "duanju" costs between $50,000 and $200,000 to produce and, when successful, can bring in several million dollars, with some titles exceeding tens of millions, but of course only a small minority reach this level.
In Africa, and particularly in French-speaking Africa, the equation remains complex because data costs are still high, micropayments are not very developed, and competition from free content on social media remains significant. Furthermore, the Chinese model is based on quasi-industrial production, which is difficult to replicate immediately in Africa.
While there is a real opportunity to produce content tailored to African audiences that requires few resources, the question of the most suitable business model remains unresolved. However, the rise of mobile money, the creativity of African storytellers, the obvious interest of the public in this type of content, and the growing interest of local and regional platforms in short formats suggest the possibility of hybrid models capable of establishing vertical drama on the continent in the long term… provided that it is adapted to local realities.