Non-English Titles Hit 65% of Netflix Acquisitions, Ampere Finds

Non-English content now accounts for 65 per cent of acquired titles on Netflix and 50 per cent on Disney+, according to research from Ampere Analysis published on 29 October 2026. The figures mark a shift in acquisition strategy for two of the world's largest streaming platforms, and they understate the opportunity: in several major producing countries, most content still never leaves home.

Ampere's analysis compares title popularity with availability across markets to identify where demand outruns distribution. The gaps are large. Only 40 per cent of Japanese VoD content and 30 per cent of Turkish content is distributed beyond its home market, while 45 per cent of South Korean titles remain available only domestically. English-language content, by contrast, is locked inside its country of origin just 5 per cent of the time — roughly one title in twenty, against nearly half for Korean output.

Which markets are platforms buying from?

As of September 2026, more than half of the content acquired by both Netflix and Disney+ originated from non-English-speaking countries. Netflix leads at 65 per cent; Japan and South Korea are its leading source countries. Disney+, at 50 per cent, leans on Germany and Japan.

That composition matters for content owners. The same two territories that top Netflix's buying list — Japan and South Korea — are also those Ampere flags as under-distributed, suggesting the licensing boom has room to run well beyond current volumes.

Where are the biggest licensing gaps?

Ampere ranks opportunity by pairing high international popularity with low export volumes. Four markets stand out:

• Japan: Only 40 per cent of VoD content travels abroad. Anime drives the export mix, accounting for two-thirds of Japan's 100 most internationally portable titles in 2026, led by sci-fi and fantasy. The US and South Korea are established buyers; France and Germany combine high popularity with limited imports.
• South Korea: 45 per cent of titles sit only on domestic services. Romance leads its most portable titles, followed by sci-fi and fantasy. The Middle East and Southeast Asia offer untapped demand, particularly for romance.
• Turkey: Just 30 per cent of content is distributed internationally, with fewer than 1,000 titles exported. Romance makes up 43 per cent of Turkey's 100 most portable titles in 2026. The Middle East is the main destination, yet availability there is limited to around 600 Turkish films and TV seasons; the UAE, Saudi Arabia and Egypt are priority markets.
• France: The most internationally established of the four, with 76 per cent of its VoD content available overseas. Films perform strongly on popularity. Germany and the US are key existing destinations, with Italy, Austria and Switzerland offering further potential.

What is driving the buying shift?

Tingting Li, Research Manager at Ampere Analysis, said: "Non-English content remains under-exploited despite growing global demand. In recent years, Prime Video, HBO Max and Disney+ have increasingly expanded non-English-language title licensing in multiple markets. 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. For content owners and platforms, buying this content can bridge the gap between audience demand and international distribution."

The competitive picture extends beyond the two platforms Ampere measured. Prime Video and HBO Max have also expanded non-English licensing across multiple markets, according to Li, meaning the under-distributed catalogues Ampere identifies are likely to face multiple bidders.

One caveat sits inside the numbers themselves. Ampere measures acquisitions and availability, not audience outcomes; a 65 per cent non-English acquisition share does not automatically translate into comparable viewing share, and the research does not address how acquired titles perform once licensed. Platforms chasing the same Japanese, Korean, Turkish and French catalogues may also find that limited export volumes — fewer than 1,000 Turkish titles in total — cap how long the opportunity lasts.

With South Korean content still locked to domestic services at nearly the rate English content circulates freely, the gap between demand and distribution documented here points toward continued cross-border licensing growth into 2027.