US Titles Dominate VOD Catalogues Despite Strong European Production

Why It Matters

The imbalance limits the commercial scale and visibility of European productions, affecting revenue, cultural influence, and the bargaining power of EU creators with global platforms.

Key Takeaways

• US titles hold 48% of VOD presences in Europe
• European titles make up 46% of catalog titles
• EU27 productions only 22% of catalogue presences
• Films dominate VOD, representing 85% of presences
• SVOD platforms show highest non‑European content share

Pulse Analysis

The latest European Audiovisual Observatory report underscores a persistent U.S. advantage in the VOD arena, driven by larger budgets, established star power and aggressive licensing strategies. While European creators are prolific—nearly half of all titles—their content appears less frequently across transactional, subscription and free‑ad‑supported services. This disparity is most pronounced on TV‑on‑demand (TVOD) platforms, where U.S. titles claim a 55% share, reflecting the premium placed on recognizable franchises and the higher willingness of consumers to pay for familiar content.

For European producers, the data highlights a structural challenge: achieving scale without the cross‑border distribution that U.S. titles enjoy. Although 69% of EU27 works are available outside their country of origin, they still struggle to secure multiple catalogue slots, limiting audience reach and monetisation potential. Policy makers and industry bodies are therefore intensifying co‑production incentives and advocating for "European windows" that guarantee minimum exposure on major platforms. The film‑centric nature of VOD—85% of presences—offers a niche where European cinema can compete, especially in markets like France, Germany, Italy and Spain where national content quotas are stronger.

Looking ahead, European broadcasters and streaming services are experimenting with bundled licensing deals and curated European sections to boost visibility. Strategic alliances with global SVOD players, which already host 23% European content, could expand reach if negotiated on parity terms. Meanwhile, the rise of localized free‑ad‑supported services (FOD) presents an alternative distribution channel that favours domestic productions. Balancing quality, cultural relevance and commercial appeal will be key for EU creators seeking to narrow the presence gap and capture a larger slice of the lucrative European VOD market.