Chinese superstar Yao Chen is steering her production banner Bad Rabbit Pictures into premium short-form television with an ambitious limited series centered on Mazu, the legendary sea goddess who was born mortal in China’s Fujian province. The short-form series, which draws inspiration from compact British dramas like “Fleabag,” will feature Yao, who also hails from Fujian, in a supporting role as a contemporary woman grappling with age-related anxieties while working for the deity.
The announcement comes as Bad Rabbit Pictures strengthens its international presence with two features premiering at the Berlin Film Festival: Huo Meng’s “Living the Land” and Rima Das’ “Village Rockstars 2.” “At first glance, these films seem nothing like each other, but at their core is Bad Rabbit’s spiritual essence — focusing on the connection between the natural world, the human world and the spiritual world,” Yao tells Variety.
“Fujian has this unique social ecology where nature, humans and gods cohabitate in the same time and place,” Yao says about the upcoming premium short drama. “It’s where old customs are kept most intact.” The series aims to blend modern urban sensibilities with traditional spirituality, making it relatable for contemporary audiences.
Yao, known for her razor-sharp performances and social activism, has carved a niche as both a box office draw and a producer with a conscience. Breaking out with the hit series “My Own Swordsman,” Yao transitioned seamlessly into film, headlining critical and commercial hits like “Caught in the Web” and “Lost, Found.” Behind the camera, she’s built a reputation for championing socially resonant stories under the Bad Rabbit Pictures banner, founded by Yao alongside cinematographer Cao Yu and producer Liu Hui, with projects that spotlight women’s perspectives and overlooked narratives.
Off-screen, Yao remains one of China’s most influential public figures, leveraging her massive social media following to advocate for humanitarian causes while continuing to reshape the industry on her own terms. Her eight-year experience as a UN Refugee Agency Goodwill Ambassador deeply informed her understanding of humanity’s connection to land, which both Berlin films explore. “During my visits with refugees worldwide, they all showed an incredible longing to be reunited with their homeland.”
Yao’s transition from acclaimed actress to powerhouse producer began as “an act of self-salvation.” Observing fellow creatives struggling to find meaningful projects after 40, she saw many taking on multiple roles — as producers, financiers or writers — to maintain their creative drive. “But gradually, it evolved beyond self-preservation into hoping to make films that would bring audiences a sense of power and solace,” she reflects.
Under Yao’s leadership, Bad Rabbit has become a champion for independent voices, particularly female directors and emerging talent. However, she acknowledges the challenges facing arthouse cinema in today’s market. “It’s like a single sailboat on a vast raging sea, especially after the COVID years,” she says. “The room for development has become even more strained.”
While recent blockbusters like Lunar New Year release “Ne Zha 2” have injected hope into the Chinese film industry after a dire 2024, Yao notes that most financiers remain conservative, particularly toward arthouse projects. Nevertheless, she sees opportunities in the growing number of development platforms and markets where creatives can pitch their projects.
For Yao, producing and acting are “two sides of a whole.” Her on-screen success enables her to gather resources to support emerging talent. “Compared to their male counterparts, female creatives still face a relative shortage of platforms and opportunities,” she observes. “As a female actor myself, I instinctively want to join hands with these female creatives and embark on adventures with them.”