The Chinese production house is expanding its international reach by focusing on stories about the ups and downs of everyday life in China: “Realism remains a dominant genre.”
The Chinese production house is expanding its international reach by focusing on stories about the ups and downs of everyday life in China: “Realism remains a dominant genre.”
Execs at China‘s XiXi Pictures were unsure exactly where the road ahead would lead them when they opted to present their series Islands to a global audience.
On a surface level, the female-led Islands narrative is distinctly Chinese, following three generations of a family and how their relationships develop over time through “family, love, marriage and careers.” The gamble was whether or not it would resonant across borders.
But then the numbers came in — more than 3.6 million views via the @HuashiRomance YouTube channel in just over two months — coupled with a demand to have the series made available in English, Spanish and Korean and for further broadcasts on the North American Chinese-language video platform iTalkBB, as well as closer to home on platforms in Taiwan, Japan and South Korea.
The way XiXi Pictures founder and CEO Yang Xiaopei sees it, the response was proof that international audiences welcomed content that “genuinely depicts the dynamics of social development, evolving relationships and the transformation of human nature.”
“While the settings of these stories may differ from what foreign audiences are accustomed to, they nonetheless inspire viewers globally to reflect on their own lives and aspire for personal growth,” she says. “Realism remains a dominant genre in the global television market.”
The past 12 months has seen the Shanghai- and Beijing-based XiXi Pictures further develop these plans to take what’s proven popular in China, and to introduce it to the world. The successes have included Islands, which has just picked up the Golden Angel Award for best TV drama from the 20th Chinese American Film Festival and Chinese American TV Festival — held Nov. 8 — along with the best actress and best supporting actress awards for Xu Fan and Liang Jing, respectively, while Yang won best producer.
Meanwhile, Xixi’s The Last Immortal is perhaps a more traditional Chinese fantasy drama series — with gods and magical creatures — but one that is firmly grounded in relatable youth issues such as a love and heartbreak and dealing with pressure from your elders. It was another success, clocking up 23 million views on YouTube’s Jetsen Huashi channels before being picked up by Netflix. Meanwhile, The Youth Memories — set among a group of ambitious young adults in the China of the 1970s — was nominated for best TV drama at the 34th Flying Apsaras Awards, the longest-running TV awards in China. “That’s boosted our confidence,” says Yang. “It’s a testament to the team’s hard work and dedication. By staying true to our vision of merging the spirit of youth with the unique backdrop of the times, we’ve created a story that truly resonates with audiences and touches their hearts.”
On the horizon for XiXi is Reborn, a drama series that the company has labelled a “realist” drama about a young girl who seeks justice after the death of an elder sister. Currently in post-production are the drama Six Sisters, led by international star Vivian Wu (The Last Emperor), which follows a family across China’s five decades of development — from the 1960s to the early 21st century — and Si Jin, an historical drama that XiXI says “weaves contemporary social hot topics, such as marriage and love, and female independence, into the fabric of ancient marriage relationships and various intriguing cases.”
Along with those titles, XiXi Pictures also held a very public presence at the the Tokyo International Film Festival in October. And in recognition of this growth — from the company’s formation in 2020 to where they are now — Yang was recently named one of THR’s 35 Most Powerful Women in International Television.
After years working within China’s massive Shanghai Media Group, Yang formed XiXi Pictures to tap directly into China’s rapidly evolving TV and streaming market.
“In terms of content creation, Chinese filmmakers and television producers are adopting a realistic approach that aligns closely with contemporary life,” says Yang. “This perspective is evident across historical and period dramas and is deeply embedded in modern series that mirror present-day realities.”
Yang also identifies a shift in focus among Chinese content creators as they explore a wider range of genres. While there have been examples of what the Chinese market is best-known for — VFX-heavy fantasy epics and palace dramas — she ticks off a growth in “family and coming-of-age period dramas, and science fiction and crime-focused thrillers.”
“These have made notable creative strides in the Chinese TV market this year,” says Yang. “These series offer rich details of life experiences, weaving complex narrative structures and presenting multi-dimensional character portrayals.”
There has also been further growth in the production of short dramas — often with episodes of less than 10 minutes in length and designed to satisfy the viewing needs of a nation of more than 1 billion smartphone users. It’s a market reported to now be worth more than $5 billion annually, and it’s a market XiXi Pictures is exploring.
“They have become a popular format, characterized by their intense plots, rapid pace and vertical filming style, catering to viewers who prefer engaging with content during brief moments of free time,” Yang says. “As for the audience demographics, there is a diverse age range. Young people, especially college students and young professionals, prefer to watch on mobile platforms and constitute the primary viewership for many popular film and television productions.”
Looking to what else is on the horizon, Yang says Xixi Pictures will ensure they keep up with technology’s advances — including exploring what is available via Artificial Intelligence Generated Content — to ensure audiences are satisfied, and entertained, with the hope that more and more platforms will tune-in to streaming Chinese content.
“We’ll continue to tap into the incredible talent of Chinese creators and embrace cutting-edge technologies like AIGC, virtual production and 4K and 8K filming techniques,” says Yang. “This will enhance the new quality productivity of Chinese film and TV, expand the channels through which we tell Chinese stories, and actively explore overseas markets to reach global audiences.”