The European Audiovisual Observatory has published a study titled Film and TV content in TVoD, SVoD and FoD catalogues – 2025 edition, authored by analyst Christian Grece, and using data from JustWatch. 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 per cent of all individual titles in exploitation, they represent only 32 per cent of total ‘presences’ (the actual number of times a work appears across various catalogues). In contrast, US titles represent 33 per cent of individual titles but command nearly half of presences in VoD catalogues, with a 48 per cent share of all presences. This disparity arises because US titles are typically featured in far more catalogues per title than their European counterparts.

Key findings include:

• US works account for almost half of all works available: US works represented an aforementioned 48 per cent of the more than 2.5 million work presences in EU27 VoD catalogues but only 33 per cent of all titles available on VoD.
• The EU27 presence gap: Works produced in the EU27 represent 35 per cent of individual titles but only 22 per cent of catalogue presences.
• The role of cross-border circulation: The majority (69 per cent) 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 per cent of all work presences (and TV seasons 15 per cent). The EU27 share of presences is higher for films (24 per cent) than for TV seasons (15 per cent).

VoD business models and origin of works:

• SVoD catalogues: Regarding content of all origins, global SVoD services show the highest diversity, with 29 per cent of their presences originating from other world regions (meaning outside of Europe and the US). EU27 works account for 23 per cent of presences on these platforms.
• TVoD catalogues: Transactional services catalogues are those with the highest share of US works, representing 55 per cent of all presences, and the lowest share of EU27 works with 21 per cent.
• FOD catalogues: Often managed by national broadcasters, free 0n-demand services have the highest share of European and EU27 works, with EU27 works reaching a 25 per cent share of presences. When other European works are included, the share is 35 per cent (compared to 32 per cent for SVoD services and 33 per cent for TVoD services)
• Geographic concentration: The share of EU works in catalogues is highest in France (36 per cent), Germany (30 per cent), Italy (28 per cent), and Spain (26 per cent). These major production hubs are characterised by a high share of national content, whereas smaller production countries rely mostly on non-national European works.

Other posts by :

1. Eutelsat seeks ISRO deal for launches
2. Virgin Galactic sets prices for space tourists
3. Devas vs Antrix rumbles on
4. Shotwell makes TIME front cover
5. Suitors eye Globalstar
6. SpaceX: IPO offer in days?
7. New Brittin, new BBC?
8. Forecast: SpaceX tracking to $20bn revenue in 2026
9. EchoStar’s Dish restructures debt obligations

Categories: Content, Headline, Markets, Premium, Research, VOD

Tags: European Audiovisual Observatory, movies, svod, vod