Spain has successfully transformed its creative prowess into a significant global business asset. During a joint session at Mipcom, top entertainment analytics firm Parrot Analytics along with the Spanish Trade & Investment organization ICEX, unveiled new insights indicating that Spain is among the most effective and dependable producers of hit content worldwide.
Driven by substantial national and regional incentives, the production landscape in Spain has flourished, leading to a rise in both the quality and quantity of shows. The proactive investments made by the Spanish government in the film and television sector have not only supported its local talents but have also drawn in international productions to shoot within its borders. An increasing number of Latin American creators are establishing their branches in Madrid to leverage the nation’s incentives and co-production agreements, as well as its celebrity cachet.
Spain has also established a support office in Singapore to enhance its foothold in Asia, where demand has surged by 63% since last year, as highlighted in the findings presented at the yearly gathering in Cannes. Notable increases in viewer engagement have been recorded in Singapore (up 127%), China (up 75%), and India (up 61%).
“Streamers are in need of reliable content,” stated Jaime Otero, VP of Partnerships at Parrot Analytics. “Spain’s hit-rate of 26.1%—the highest in Europe and Latin America, and second only to Korea—coupled with a +63% demand from Asia and significant subscriber growth across all major streaming platforms, reveals a diverse and trustworthy slate of offerings. This level of insight mitigates investment risks, boosts financial returns, and distinguishes leaders in the field.”
“This data serves as definitive evidence that our strategic commitment to the audiovisual sector is yielding exceptional returns for Spain,” remarked Luis Mayoral Gabaldón, director of creative industries at ICEX.
“A world-class hit-rate isn’t merely coincidental; it results from a deliberate national focus on excellence and innovation. A few years back, we demonstrated that our productions could succeed beyond our local market; now, we are revealing how our content connects with audiences, platforms, territories, and genres on a global scale, providing reliable options for our international partners.”
Otero emphasized that the Spanish audiovisual sector no longer depends solely on a handful of blockbuster hits, as it did in the past; instead, it now offers a wider array of content that performs well across various platforms and regions. Last year, productions like J.A. Bayona’s Oscar-nominated “Society of the Snow,” the Netflix sensation “Money Heist,” and Prime Video’s “Red Queen” significantly contributed to the global prosperity of Spanish content.
“The proportion of Spanish titles now represents 80% of Spain’s global streaming revenue, nearly doubling since 2020 (from 7.0% to 13.5% in H1 2025),” according to the report.
Highlights shared at Mipcom on October 13 included:
- Global revenue share: Spain comprises 6.47% of the global non-English streaming revenue (2022 to H1 2025)
- Prime Video: “Apocalypse Z: El principio del fin” has emerged as the top non-English film for subscriber acquisition globally since 2024, engaging 1.1 million total global subscribers within its first window (over the initial 13 weeks post-launch)
- Disney+: Both “Invisible” and “Cristóbal Balenciaga” ranked among the top 15 non-English series for acquisition and retention in their first 13 weeks
- Netflix: “Carlos Alcaraz: A mi manera” ranked as a top-5 non-English documentary for acquisition during its first 10 weeks
This year’s findings build upon the $5.1 billion revenue baseline reported at MIPCOM 2024, showcasing Spain’s strategic pivot from promotion to data-driven ROI (Return on Investment).
Mipcom is scheduled from October 10 to 16.
