The Power of K-Content Lies in "Localization"... Netflix and Disney Place Their Bets Together
Localization Strategy Reaffirmed at the Lumiere Summit
Support Expanded to Independent Films
Global media platforms are positioning K-content as a key pillar of their global strategy. They are moving beyond simply acquiring intellectual property (IP), aiming instead to build long-term partnerships that nurture the entire Korean creative ecosystem.
On September 7 (local time), at the Lumière Summit, an international film and video conference held in Saint-Paul-de-Vence, France, global entertainment executives identified “thorough localization” as the secret behind the success of K-content.
Minyoung Kim, Vice President of Content for Netflix Asia-Pacific, said, "'The Deal,' which deals with Korean society, ranked among the top 10 of Netflix's most-watched non-English series of all time." She analyzed, "Stories that genuinely portray the most authentic aspects of Korean culture and life have resonated with viewers worldwide." She further added, "Rather than artificially universalizing in a Hollywood style, the ability to express Korea’s unique social context and sharp sensibility in an entertaining way is the key weapon dominating the global market."
To sustain this creative capability, Netflix is starting to make full-scale capital investments into the foundational ecosystem that underpins its content competitiveness. Isabelle Haski, Global Policy Strategy Vice President at Netflix, reiterated, "Non-interfering investment has always been the principle Netflix has pursued in Korea."
In fact, Netflix is broadening its support beyond commercial film investments to include independent and art films, such as supporting the Mise-en-scène Short Film Festival and the Wildflower Film Awards. The company believes that, to ensure the quality of mainstream tentpole films, it must first nurture an independent film ecosystem that discovers emerging creators with experimental mindsets. Vice President Haski explained, "When we invest in local talent and film festivals, the resulting achievements flow back into Korea as tangible trickle-down effects."
Disney has also repeatedly emphasized the structural importance of the Korean market and pledged long-term cooperation. Dana Walden, President of The Walt Disney Company, stated, "Korea is one of the most dynamic content markets in the world and a key driver of global storytelling," adding, "We will continue to create new opportunities so that more Korean creators and stories can reach audiences around the world."
Alan Bergman, Chairman of Disney Entertainment Studios at The Walt Disney Company, also said, "Korea is a highly important market for Disney, and we plan to continue delivering blockbuster titles and the best cinematic experiences that Korean audiences love."
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This demonstrates that both the distribution of original content via OTT platforms and the traditional theatrical industry recognize the power of Korean audiences and creators as essential drivers of global success. It also indicates that K-content has established itself not just as a short-term trend, but as a standard asset in the global industry.
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