Expect more Chinese epic costume dramas and Shanghai-set modern urban romance dramas in the coming years. And with both genres still at the zenith of their popularity in Asia, why change a winning formula? That seemed to be the message from a slate presentation from China‘s leading film and television production companies during the second day of TIFFCOM, Asia’s leading multi-entertainment content market that is held during the Tokyo International Film Festival.
During a thorough showcase on Thursday, organized by a combination of the Shanghai Municipal Administration of Culture and Tourism, the Shanghai Municipal Administration of Radio and Television and the Shanghai Broadcasting Film & Television Producers Association, a group of Chinese studios presented their latest prestige projects for eager buyers at TIFFCOM.
Among the majority Shanghai-based companies presenting was Linmon Media, the do-it-all production house that has established itself as a major player in just over a decade of operation. Linmon is known for producing the hits A Love for Separation, Fighter of the Destiny and Nothing but Thirty, the latter of those being one of the biggest Chinese television dramas in history and now a key component of the company’s future plans. At TIFFCOM, Linmon revealed a new 28-episode modern romance drama, Love Between Lines. As ever, set in Shanghai, the youthful series comes from director Cattree and stars Chen Xingxv and Lu Yvxiao, and the company says it will drop at the end of this year, or early 2026. Also presented for consideration was In the Moonlight, a 40-episode historical costume drama that releases in Q1 2026 and stars Bao Shangen and Wang Hongyi.
Linmon also presented something a bit different from director Xu Hongyu with the high concept fantasy action drama series Infinite 10 Days, the first season of which features 24-episodes, with production set for the end of 2025/early 2026. Intriguingly, Linmon revealed that it was stepping up its efforts in local language versions of its mega hit Nothing but Thirty format. The retitled The Thirsty Thirty from Thailand (Disney+), was the first such adaptation of Nothing but Thirty, but the company has since rolled out a version in Vietnam, and is developing or in production for versions in Japan (with Fuji TV), South Korea (with JTBC), Hong Kong and Indonesia. A source close to the company tells The Hollywood Reporter that season two of the Chinese version of the drama is also in development, as well as early work on a U.K. adaptation.
Shanghai- and Beijing-based XiXi Pictures was also present at TIFFCOM, and the producers behind fantasy series The Last Immortal and the retro drama The Youth Memories presented three new projects. The first was urban romance drama Shine on Me, a 36-episode series based on the popular novels by Gu Man. The series stars Song Weilong and Zhao Jinmai and places a heavy emphasis on Shanghai as a backdrop and key element of the story. There was also the urban romance drama Xiao Fung, an 18-episode series based on Yi Bei’s book. And finally, the big budget 32-episode wuxia costume drama Blade of Vengeance. Set during the Yongle Era, Xixi said that Blade of Vengeance would break from the norm and the in-world drama would focus on realism and logic rather than fantastical feats, with the production emphasizing the real location shooting and hard-hitting action.
Youhug Media’s presentation included two projects to bolster its international ambitions. First — and perhaps the most interesting project in the entire presentation — the 16-episode high concept time-loop action drama Mobius, which was released in China in September and has been picked up by iQIYI and Netflix. Based on the book by Zhang Xiaomao, and directed by Lui Zhangmu, Mobius has struck a chord with audiences and Youhug is looking to capitalize by finding new markets for their sci-fi gem. The company also presented the sumptuous, and very expensive-looking, costume drama Rebirth. Clearly proud of Rebirth, Youhug claims film level production for the 40-episode historical epic series that certainly reminded one of Zhang Yimou’s classic films Hero, House of the Flying Daggers and Curse of the Golden Flower.
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