The global appetite for television and film productions in languages other than English continues to grow, but streaming platforms may still be missing significant opportunities to expand their international libraries.
That's the central finding of new research from Ampere Analysis, which suggests that while major streaming services have increasingly embraced international programming, a substantial amount of potentially popular content remains confined to its country of origin.
According to the research, as of September 2026, productions originating in non-English-speaking countries accounted for 65% of Netflix's licensed content acquisitions and 50% of Disney+'s. Japan and South Korea were the leading sources of Netflix's non-English acquisitions, while Germany and Japan topped Disney+'s selections.
The figures refer specifically to acquired titles licensed in at least one market, excluding original productions and content produced in-house. They therefore measure the composition of licensed programming rather than the complete libraries of either service.
Additional figures from the September 2026 dataset indicate that non-English titles account for 44% of Prime Video's acquired content, 34% of HBO Max's and 14% of Paramount+'s, suggesting that the appetite for international programming varies considerably among the major services.
But the acquisition figures tell only part of the story. Ampere's research identifies considerable gaps between the popularity of international productions and their actual availability outside their domestic markets.
Japan is one of the most significant opportunities. Approximately 60% of its video-on-demand content remains unavailable internationally, despite the growing popularity of Japanese programming around the world. Anime represents two-thirds of Japan's 100 most internationally exportable titles, with science fiction and fantasy among the genres offering the strongest opportunities.
France and Germany are particularly attractive potential markets for additional Japanese acquisitions, with demand for anime and other Japanese productions exceeding their current availability.
South Korea presents a similarly promising opportunity. Approximately 45% of Korean VOD titles remain exclusive to domestic services, despite the international success of Korean television and film. Romance is the leading genre among the country's most internationally portable productions, followed by science fiction and fantasy.
Ampere identifies Southeast Asia and the Middle East as particularly attractive markets for additional Korean licensing, with romance-driven programming offering considerable potential.
Turkey may represent an even larger opportunity for international distributors. Only 30% of Turkish VOD titles are available outside the country, leaving approximately 70% of its programming confined to domestic markets. Fewer than 1,000 Turkish titles have reached international distribution.
Romance accounts for 43% of Turkey's 100 most internationally exportable titles, with the United Arab Emirates, Saudi Arabia and Egypt identified as priority markets for additional distribution. The Middle East already represents Turkey's most established export destination, but Ampere believes there is room for considerably broader availability.
France, meanwhile, has developed a more mature international distribution business, with approximately 76% of its VOD content available overseas. However, French feature films still have room to expand in neighboring European territories, particularly Italy, Austria and Switzerland.
The disparity becomes especially apparent when compared with English-language programming. According to Ampere, only 5% of English-language content remains exclusive to its country of origin. That suggests international distribution has become an established part of the business for English-language producers, while many other territories have yet to capitalize fully on their global audiences.
The growing importance of international programming is also evident in Netflix's original production strategy. Separate Ampere research found that non-English-language productions accounted for 52% of the streamer's original television season releases in 2025, crossing the 50% threshold for the first time. That was up from 49% in 2024.
Netflix's own viewing figures reinforce the trend. In its report covering the first half of 2026, the company said non-English-language titles generated more than one-third of total viewing on the service. Productions from South Korea, Japan and Spain were among the strongest performers. More than half of Netflix members had also watched at least one anime title.
Recent licensing agreements demonstrate how distributors are already responding to the opportunity. In July, South Korean entertainment company CJ ENM announced a multiyear agreement with Prime Video India that will bring more than 100 titles to the service over two years, including 26 new productions. New releases will include English subtitles and dubbing in Hindi, Tamil and Telugu.
Turkish programming is also finding new distribution opportunities. In October, distributor Eccho Rights announced agreements with Disney that brought My Home My Destiny to Disney+ across the Middle East and North Africa, while Golden Boy was licensed to STAR Life in Portugal.
These deals illustrate how international licensing can generate additional revenue from productions that have already been financed, while introducing established programming to audiences who might otherwise never encounter it.
There are, of course, practical considerations. International distribution requires securing the appropriate territorial rights, arranging subtitles and dubbing, meeting local regulatory requirements and investing in marketing. Existing licensing agreements can also limit where and when a production can be made available.
Still, the economics are increasingly attractive as streaming platforms look for ways to broaden their programming libraries without assuming the full financial risk of producing every title themselves.
Tingting Li, Research Manager at Ampere Analysis, identifies the disconnect between international audience interest and the availability of non-English programming as a significant opportunity for both content owners and streaming services. Japanese, South Korean, Turkish and French productions are particularly well positioned to benefit from additional cross-border licensing.
For global streamers competing for subscribers and viewing time, the next programming opportunity may not necessarily involve commissioning another expensive original series. It could simply mean finding the next international hit that audiences have yet to discover.