Download "Film and TV content in TVOD, SVOD and FOD catalogues - 2025 data"

The European Audiovisual Observatory has published a new study titled "Film and TV content in TVOD, SVOD and FOD catalogues – 2025 edition," authored by analyst Christian Grece. The report highlights a stark contrast between the diversity of individual titles available and their actual presence across streaming and VOD catalogues in the European Union.

While European works account for 46% of all individual titles in exploitation, they represent only 32% of total "presences" (the actual number of times a work appears across various catalogues). In contrast, US titles represent 33% of individual titles but command nearly half of presences in VOD catalogues, with a 48% share of all presences. This disparity arises because US titles are typically featured in far more catalogues per title than their European counterparts.

N.B. The word ‘European’ in this press release and report refers to data concerning the 46 Council of Europe Member Countries. The report is supported by the Creative Europe Programme of the European Commission.

Key findings on the presence of works

• US works account for almost half of all works available: US works represented 48% of the more than 2.5 million work presences in EU27 VOD catalogues but only 33% of all titles available on VOD.
• The EU27 presence gap: Works produced in the EU27 represent 35% of individual titles but only 22% of catalogue presences.
• The role of cross-border circulation: The majority (69%) of EU27 works found in catalogues are "non-national," meaning they were produced in another EU27 country.
• Film dominance: Films are the primary type of works available in VOD catalogues, accounting for a massive 85% of all work presences (and TV seasons 15%). The EU27 share of presences is higher for films (24%) than for TV seasons (15%).

VOD business models and origin of works:

• SVOD catalogues: Regarding content of all origins, global SVOD services show the highest diversity, with 29% of their presences originating from other world regions (meaning outside of Europe and the US). EU27 works account for 23% of presences on these platforms.
• TVOD catalogues: Transactional services catalogues are those with the highest share of US works, representing 55% of all presences, and the lowest share of EU27 works with 21%.
• FOD catalogues: Often managed by national broadcasters, FOD services have the highest share of European and EU27 works, with EU27 works reaching a 25% share of presences. When other European works are included, the share is 35% (compared to 32% for SVID services and 33% for TVOD services)

Geographic concentration: The share of EU works in catalogues is highest in France (36%), Germany (30%), Italy (28%), and Spain (26%). These major production hubs are characterized by a high share of national content, whereas smaller production countries rely mostly on non-national European works.

Source: JustWatch catalogue data

Source: JustWatch catalogue data

Methodology:

• For film data, 187 TVOD catalogues, 837 SVOD catalogues and 182 FOD catalogues in 25 EU countries were analysed based on JustWatch catalogue data. The data was collected in June 2025 and the titles were matched through databases with their countries of production. The consistency of data is obtained by matching each entry of each catalogue with an individual original title.  
• For TV season data, the analysis was based on JustWatch data from 146 TVOD catalogues, 425 SVOD catalogues and 75 FOD catalogues in 25 EU countries. The data was collected in June 2025 and the TV seasons were matched through databases with their countries of production.
• For the origin of a title, only the first country of production was considered. This approach is a proxy, as in a limited number of cases, minority coproductions can be considered as national productions under co-production agreements.
• Four regions of origin are considered: “EU27” titles have an EU27 country as first production country (with a split between EU national and EU non-national for presences). “Other European” titles have as a first production country a European country that is a member of the Council of Europe, “US” titles are from the United States of America and “Non-US/non-European” designates titles from all other origins.  

The shares included in this report are only indicative and minor identification errors might have occurred: About 1% of all titles are not identified and are not included in the statistics presented in this report. Minor rounding adjustments in the shares by region of origin have been made. 

 Meet the author - Christian Grece, TV and VOD Markets Analyst, LUMIERE VOD database, Department for Market Information