Author Archives: Marylin Luis

Albornoz, L.A., García Leiva, M.T., Gallo, P. and Fernández-Herruzo, J.I. (2025). Spanish works on subscription video-on-demand services. 2025 Edition. Audiovisual Diversity Research Group, Carlos III University of Madrid

This report analyses the presence of Spanish works in six subscription video-on-demand (SVOD) services in the Spanish market. The report focuses, in order of their arrival in Spain, on Netflix, Prime Video, Max, Apple TV+, Disney+ and SkyShowtime. In addition to the presence of Spanish works, it examines the main mechanisms used to give them prominence in the services. The availability of Spanish titles has been increasing since 2022, when this annual report began. The main conclusion of this 2025 study is that all services include Spanish works in their respective catalogues, although the quantity and characteristics of these works vary considerably. Altogether, the six catalogues offer 1,802 unique Spanish titles, including international co-productions. The figure implies an increase of 211 works compared to January 2024. Prime Video, with 1,032 titles, is the service with the largest amount of Spanish content, followed by Netflix, which offers 674 Spanish works. When these data are compared to the total size of each catalogue, SkyShowtime is the service having the highest percentage of local works, with Spanish titles accounting for 15.8% of its catalogue. Prime Video is close behind, with 15% of its catalogue made up of Spanish titles. On Netflix and Max this percentage is around 8%, while on Disney+ and Apple TV+ they represent less than 3% in each case. The consolidation of certain trends identified in the SVOD market segment regarding the content offered and the way it is marketed, make analysing the services’ interfaces increasingly complex. In this scenario, the services examined here use different mechanisms to give prominence to the Spanish works available in their catalogues. With the exception of Apple TV+, all of them have sections dedicated to Spanish works. Likewise, the search engines of each service vary in the number and type of works they return when keywords related to local works are entered, with Netflix providing the greatest possibility of finding Spanish films, series and other types of content.

Available for download here.

Spanish version here.

Albornoz, Luis A. & Krakowiak, Fernando (2024). Netflix’s First Decade of Presence in Latin America, en Bouquillion, P., Ithurbide, C., & Mattelart , T. (Eds). “Digital Platforms and The Global South. Reconfiguring power relations in the cultural industries”. Routledge, ISBN 9781003391746

Netflix began providing its video-on-demand (VoD) service in Latin America more than a decade ago, a strategic regional market in which it was deployed before its global expansion in Europe, Africa and Asia. Currently, the California-based company leads the market for over-the-top paid audiovisual services in the competitive Latin American market, ahead of giants such as Amazon, Warner Bros. Discovery, Disney, Telefónica, Globo and Televisa. Based on a documentary review of primary and secondary sources, this chapter addresses the localisation strategy developed by Netflix in its first decade of implementation in Latin American countries, which has included the opening of subsidiaries in the region’s main audiovisual markets (Brazil, Mexico, Colombia and Argentina) and the production of its own content in partnership with local companies in order to feed the segment of titles labelled ‘originals’. To this end, the different fronts of action (agreements with other companies, characteristics of the content offer, in-house production of content, etc.) in which the transnational company has played a leading role are addressed. This chapter pays special attention to the Mexican and Brazilian markets in terms of in-house content production and to the debates surrounding the regulation of the VoD services market.

Netflix comenzó a prestar su servicio de vídeo bajo demanda (VoD) en Latinoamérica hace más de una década, un mercado regional estratégico en el que se desplegó antes de su expansión global en Europa, África y Asia. Actualmente, la compañía californiana lidera el mercado de servicios audiovisuales de pago over-the-top en el competitivo mercado latinoamericano, por delante de gigantes como Amazon, Warner Bros. Discovery, Disney, Telefónica, Globo y Televisa. A partir de una revisión documental de fuentes primarias y secundarias, este capítulo aborda la estrategia de localización desarrollada por Netflix en su primera década de implantación en los países latinoamericanos, que ha incluido la apertura de filiales en los principales mercados audiovisuales de la región (Brasil, México, Colombia y Argentina) y la producción de contenidos propios en asociación con empresas locales para abastecer el segmento de títulos etiquetados como «originales». Para ello, se abordan los distintos frentes de actuación (acuerdos con otras empresas, características de la oferta de contenidos, producción propia de contenidos, etc.) en los que la empresa transnacional ha desempeñado un papel protagonista. En este capítulo se presta especial atención a los mercados mexicano y brasileño en materia de producción propia de contenidos y a los debates en torno a la regulación de los servicios de VoD

Acceso al capítulo aqui.