Non-English markets supply 65% of Netflix’s acquired titles
October 29, 2026 09.59 Europe/London By Julian Clover


Titles originating in non-English-speaking countries account for 65% of Netflix’s acquired content and 50% of Disney+ acquisitions, according to Ampere Analysis.

The research, based on September 2026 data, identifies further licensing opportunities in Japanese, South Korean, Turkish and French programming, where audience popularity is not fully matched by international availability.

Ampere defines acquired titles as those licensed in at least one market, excluding originals and in-house productions. The figures therefore relate to licensed content rather than the platforms’ entire catalogues.

Japan and South Korea were the leading sources of Netflix’s non-English acquisitions, while Germany and Japan topped the list for Disney+.

Only 40% of Japanese VOD content is distributed outside its home market. Anime accounts for two-thirds of Japan’s 100 most internationally portable titles, with Ampere identifying France and Germany as markets where relatively strong popularity is accompanied by limited imports.

South Korean programming also has scope for wider distribution, with 45% of titles available only domestically. Romance leads its most internationally portable genres, followed by science fiction and fantasy. Ampere highlights the Middle East and Southeast Asia as opportunities for additional licensing.

For Turkish content, just 30% is distributed internationally, representing fewer than 1,000 titles. Romance accounts for 43% of Turkey’s 100 most internationally portable titles, with the UAE, Saudi Arabia and Egypt identified as priority markets.

France has a more established export business, with 76% of its VOD content available overseas. However, Ampere sees further opportunities for French films in Italy, Austria and Switzerland.

“Non-English content remains underexploited despite growing global demand,” said Tingting Li, Research Manager at Ampere Analysis.

“Japanese, South Korean, French and Turkish content present the top opportunities for international licensing, with strong audience appeal but still gaps in cross-border availability.”

By comparison, only 5% of English-language content is confined to its country of origin.