Tingting Li, a research manager at Ampere Analysis, says audiences around the world are looking for programming that still does not travel far enough. She identified Japanese, South Korean, French and Turkish titles as the leading opportunities for international licensing, with strong appeal alongside gaps in cross-border availability.
Netflix had sourced 65% of its acquisitions from non-English content as of September, with Japan and Korea its leading sources. Disney+ had acquired non-English titles for 50% of its acquisitions by the same point, led by German and Japanese programming.
The figures describe a streaming market in which language is becoming less of a boundary for buyers. Amazon Prime Video, HBO Max and Disney+ have also expanded licensing of non-English-language titles across multiple markets in recent years.
Yet the supply of international programming available to viewers remains limited. Just 40% of Japanese streaming content is available worldwide. The US and South Korea are the biggest buyers of Japanese content, while France and Germany show relatively high interest.
South Korean programming has a similar distribution problem. Despite the global popularity of K-drama, only 45% of South Korea's titles are available on its own streaming services. The Middle East and Southeast Asia appear most likely to acquire South Korean romantic-themed films and shows.
Ampere Analysis has named Japanese, French, South Korean and Turkish content as the biggest acquisition opportunities ahead. Li's assessment is that non-English content remains underexploited even as global demand grows, leaving viewers seeking varied programming and producers seeking wider distribution without a full connection between them.
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