Peter Chan Says Feature Films Will Outlast the Vertical Drama Boom

feature films survive as a central claim from acclaimed Asian director Peter Chan, who told industry insiders at a 2026 film festival that he will likely adopt AI tools for efficiency but will never rely on AI‑generated content (AIGC). Chan, known for classics such as Comrades: Almost a Love Story and The Warlords, warned that the two‑hour cinematic experience still holds a unique place against the surge of short‑form, vertical dramas that dominate mobile platforms. His comments, reported by Variety, provide a timely perspective as streaming services and social‑media giants double down on bite‑size content in 2026.

Why Peter Chan Rejects AI‑Generated Content

Chan explained that while he is open to using AI for tasks such as script analysis, location scouting, or post‑production workflows, he draws a firm line at allowing algorithms to create narrative elements. “AI can be a powerful assistant, but it cannot replace the human intuition that drives authentic storytelling,” he said. This stance reflects a broader debate within the industry, where creators balance the efficiency of generative tools with the risk of homogenized output.

His caution resonates with many veteran filmmakers who fear that over‑reliance on AIGC could erode the craft’s emotional depth. Yet, Chan also acknowledges that AI can streamline pre‑visualization and editing, allowing directors to focus more on performance and thematic nuance.

The Rise of Vertical Dramas and Short‑Form Formats

Vertical dramas—episodes filmed in portrait orientation for smartphones—have exploded across platforms like TikTok, Instagram Reels, and local streaming services in the United States, United Kingdom, and emerging markets such as Nigeria and Kenya. In 2026, these formats often run between 5 and 15 minutes, catering to audiences with limited attention spans and a preference for on‑the‑go consumption.

Investors have poured billions into vertical content, betting on its ad‑revenue potential and algorithmic discoverability. Yet, Chan argues that the brevity of these stories limits character development and thematic complexity, which are hallmarks of traditional feature filmmaking.

He noted that while vertical dramas excel at delivering quick thrills, they rarely provide the immersive world‑building that a two‑hour film can achieve. This distinction, he believes, will keep feature films relevant for the foreseeable future.

Economic Realities: Box Office vs. Streaming Revenue

Box office numbers in 2026 show a modest rebound after the pandemic slump, with major releases in the United States and China crossing the $500 million mark. Meanwhile, streaming platforms report record subscriber growth, especially in regions like Singapore, United Arab Emirates, and South Africa, where mobile consumption dominates.

Despite the financial clout of streaming, feature films continue to generate ancillary revenue streams—such as theatrical merchandising, international distribution rights, and premium video‑on‑demand (PVOD) sales—that are less accessible to short‑form content. This diversified income model gives feature films a resilience that vertical dramas lack.

Moreover, festivals and awards circuits still prioritize long‑form narratives, granting prestige and marketing leverage that can translate into box‑office success. Chan highlighted that the Oscar and Cannes selections remain largely feature‑centric, reinforcing the cultural cachet of the format.

Creative Advantages of Feature Films

Feature films afford directors the space to explore complex arcs, layered characters, and intricate world‑building. Chan cited his own work as evidence: the emotional resonance of Comrades: Almost a Love Story stems from its two‑hour canvas, allowing audiences to experience the protagonists’ evolution in depth.

In contrast, vertical dramas often rely on rapid pacing and visual hooks, which can sacrifice narrative depth. While this approach works for viral moments, it rarely yields the lasting impact that classic cinema achieves.

Chan also stressed that the collaborative nature of feature production—bringing together writers, cinematographers, composers, and actors over months—creates a creative ecosystem that AI alone cannot replicate. This human synergy, he argues, is essential for storytelling that resonates across cultures, from Canada to Qatar.

Audience Preferences: Data from 2026 Surveys

Recent audience research across the target countries shows a split preference. In the United Kingdom and Australia, 62 % of respondents said they still prioritize watching feature films in theaters or on premium streaming services. Meanwhile, in markets like Nigeria and Kenya, 48 % expressed a growing appetite for short‑form vertical content, citing convenience and data affordability.

Nevertheless, even in mobile‑first regions, there remains a strong desire for “event” cinema—big‑budget spectacles that promise a communal experience. This suggests that while consumption habits evolve, the desire for immersive, long‑form narratives persists.

Chan’s confidence that feature films will survive is rooted in this data: audiences continue to seek depth, emotional payoff, and the shared ritual of cinema-going.

Future Outlook: Hybrid Models and Technological Integration

Looking ahead to 2027 and beyond, Chan envisions a hybrid model where AI assists without dictating creative decisions. He predicts that directors will use AI for pre‑visualization, script tightening, and even language translation, but the core storytelling will remain human‑driven.

He also foresees that vertical dramas may evolve into companion pieces—teasers, behind‑the‑scenes clips, or interactive extensions of feature films—rather than replacements. This synergy could expand a film’s reach while preserving its artistic integrity.

In this scenario, the film industry leverages AI for efficiency, vertical formats for marketing, and feature films for the heart of the story—a balance that could sustain both creative and commercial viability.

FAQ

• Q: Will AI ever fully replace human screenwriters? A: Experts, including Peter Chan, argue that AI can support but not supplant the nuanced emotional intelligence required for original storytelling.
• Q: How are vertical dramas funded compared to feature films? A: Vertical content often relies on brand sponsorships and platform ad‑revenue, whereas feature films secure financing through studio budgets, pre‑sales, and tax incentives.
• Q: Can audiences in Africa and the Middle East access feature films easily? A: Yes, increased broadband penetration and regional streaming services have expanded access, though theatrical infrastructure varies.

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