What Filmmakers Can Learn From Asia’s Streaming Boom

Asian stories are finding audiences around the world, but success takes more than a good story or a big streaming deal.

Nigerian filmmaker Abu-bakr S. Adamu, whose experimental drama Silent Verses is scheduled to premiere at the Vancouver Black Independent Film Festival this month, believes filmmakers must also understand what connects with viewers and build industries that can support their work over time.

In the first half of 2026, Asia-Pacific accounted for 36% of first-run scripted television commissions from six major global streaming platforms, according to Ampere Analysis.

The region secured 70 new commissions, compared with 46 in North America and 44 in Western Europe. India led with 25, followed by South Korea, while Taiwan and the Philippines also recorded increased activity.

This shift in commissioning priorities gives filmmakers elsewhere a reason to look more closely at how the region has built its audience.

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The Global Appeal of Asian Storytelling

Adamu believes Asian productions connect with international viewers because their stories explore feelings and experiences that people recognise. “Asian stories have a universal appeal because they explore themes that audiences from different backgrounds can relate to,” he says.

Family expectations, ambition, romance, class differences and personal struggles can resonate with viewers no matter where they live.

South Korean productions are a good example. According to Ampere Analysis figures reported by The Korea Herald, Korean titles have consistently accounted for 8% to 9% of Netflix viewing hours since 2023, second only to American content.

Netflix committed US$2.5 billion to Korean productions over four years in 2023, following the international success of titles such as Squid Game.

The company reported that 95% of Squid Game’s audience came from outside South Korea, showing how a story made in one country can travel far beyond its original market.

The trend extends across Asia-Pacific. In the first quarter of 2026, Netflix commissioned 29 titles across the region, according to Ampere Analysis. South Korea and Japan remained important markets, while partnerships with broadcasters such as NHK and Nippon TV supported Netflix’s regional strategy.

What It Takes to Make a Good Story Travel

A relatable story can draw people in, but making films and series that reach large audiences also depends on production costs and the availability of skilled teams and facilities. When Squid Game became a global hit, Korean media reported that its production budget was around 20 billion won.

For comparison, Netflix reportedly spent about US$30 million per episode on the fourth season of Stranger Things, according to The Fader.

The difference highlights how production costs can vary significantly between markets and why streaming platforms may see value in commissioning content outside their traditional production centres.

Audiences also need to be able to afford access. Lower-priced mobile-only subscriptions in India formed part of Netflix's strategy to reach more viewers, as reported by Benzinga.

As Adamu puts it: “streaming only becomes a mainstream habit when the average household can afford to pay for it.” As more people watch films and series at home, platforms have greater reason to invest in content that can reach them.

Production infrastructure matters too. According to a 2021 report published by Netflix, the company's investments in Korean content contributed almost 5.6 trillion won to South Korea's GDP between 2016 and 2020 and helped create more than 16,000 jobs.

Experienced crews, studios, writers and post-production teams make it easier to deliver productions at the scale and quality international platforms expect.