80% of Netflix subscribers worldwide have watched K-content… 10 years of results since entering Korea

*This content was translated by AI.View Original

Netflix, which marked the 10th anniversary of its service in Korea, highlighted the achievements it has accomplished over the past decade alongside the Korean creative ecosystem. The company traced the path of K-content expanding onto the global stage, from discovering emerging creators to the development of production environments and the worldwide success of Korean content.

The website "Netflix and Korea's 10 Years," released on the 23rd, was prepared to commemorate the 10th anniversary of Netflix's service in Korea. The website allows users to explore the friendship and achievements built between Netflix and the Korean creative ecosystem over the past decade across four areas—content, production, localization, and the Netflix effect—through interviews, key statistics, and case studies of works.

Among Netflix Korean originals released in the last three years, at least one out of every three is a work by an emerging director or writer.

Director Park Yoon-seo, who debuted with "Girigo" after serving as an assistant director on "Kingdom" Season 2, said, "It was a challenge made possible because Netflix actively believes in new attempts rather than relying on familiar names." She added, "Just as I was given an opportunity when I was an assistant director on 'Kingdom,' it was good that I could give opportunities to emerging actors with 'Girigo.'" Director Kim Hee-jin, who directed her first feature film with "Logiwan," mentioned the development of the production environment that supported emerging creators' first challenges, stating, "I worked in an environment where I could receive help from capable staff, and I received a lot of assistance in coordinating and checking post-production."

The subjects and formats available to Korean creators have also become more diverse.

Planning PD Choi Kyung-sook of "Eun-jung and Sang-yeon" explained, "Previously, we made 'stories that as many people as possible could watch,' but after Netflix, we have been able to draw out much more diverse stories, and the range of subjects has broadened." Writer Kim Min-seok of "The Judge" said, "What was good about working with Netflix was that they did not set limits in advance," adding, "I received a proposal to tell our story rather than being overly concerned with global performance from the start."

Director Han Jun-hee of "D.P." stated, "You have to take risks to make interesting stories," and added, "The answer may be unknown, but I wanted to throw out good questions through the work."

Actor Kim Mu-yeol of "True Education" said, "Through Netflix, we have been able to show the strengths of both TV dramas and films together," adding, "It is a happy thing that actors now have a stage where they can run around freely and to their heart's content."

From 2016, when Netflix began its service in Korea, through 2025, the company collaborated with approximately more than 80 production companies to produce or co-produce approximately more than 200 Korean works.

During this period, approximately more than 25,000 cast and crew members, as well as approximately more than 70,000 extras and daily hired personnel, participated in the Korean works produced. Filming was conducted in more than 100 cities and villages across Korea.

Production partners conveyed the meaning of collaboration in realizing creators' visions. Choi Jin-hee, CEO of Imagination, said, "Netflix opened up opportunities for Korean creators to challenge themselves with more diverse stories and to imagine a wider world as their stage." Park Ji-young and Kwak Hui-jin (CEO) of Bombarang Film Company, the production company behind "The History of Confession," stated, "While we worried together about difficult parts, they fully supported the story we wanted to tell."

Consistent attempts have continued in variety shows as well. Yoon Hyeon-jun, CEO of Studio Slam for "Black and White Lisa: Cooking Class War," evaluated, "The important thing is not simply spending a lot of budget, but investing when there are good ideas." He added, "It was not successful from the start, but the fact that we have consistently invested and developed has made a big difference." Kim Su-ah, CEO of Sijak Company for "Single Inferno," introduced the experience where a jokingly mentioned helicopter idea became a representative scene of the work, stating that horizontal collaboration and a professional post-production system became assets for the production team.

Raised technical standards have led to on-site confidence. Colorist Park Jin-young stated, "The introduction of HDR has broadened the expressive possibilities of video." Sound Supervisor Kim Seok-won said, "As we followed those standards, world standards began to become visible to us, and that became our confidence." VFX Supervisor Hong Jung-ho said, "We do not see VFX as post-production; we go along with it from the moment the director hands over the script until the end."

Editing Director Nam Na-young of "Squid Game" said, "The staff also received attention due to the work's worldwide success," and shared her experience of being nominated for an Emmy Award for editing.

It was revealed that approximately 80% of Netflix subscribers have experience watching Korean content. Since the introduction of the TOP 10 aggregation on Tudum, Netflix's official ranking site, in 2021, more than 200 Korean works have entered the global TOP 10.

Director Hong Jong-chan of "True Education" cited the sense that it is a work that lasts long rather than a product with a short shelf life as a change in the production environment. Director Kim Da-min of "Honey Part-time Job" compared Netflix to a large megaphone, stating, "The fact itself that we can show our work to people around the world in real time is very meaningful." Director Nam Gung-sun of "The History of Confession" said, "Within one country, the fan base is not extensive, but when fans from all over the world come together, it was amazing," comparing the experience of audiences in various countries sharing impressions together on LINE to a festival.

New audiences have also found their way to Korean short films. Director Kim Geun-ho of "Vietnam Bodhisattva" said, "I even dreamed of one day showing a Netflix series or feature film." Wi Eun-kyung and Son Gwang-min, directors of "Aunt Sun-hee," conveyed, "We received thousands of times more feedback and opportunities for overseas film festival screenings compared to our previous work."

From 2021 to 2025, Netflix provided educational opportunities to more than 6,500 people through domestic production capacity strengthening and education programs. The website also included cases where education and production experience led to the growth of on-site experts.

Director Baek Seung-min, who served on the lighting team for "Kingdom" and is in charge of lighting director for Team B of "All of Us Are Dead" Season 2, said, "As production scale has grown, various genres and works are being made, and on-site staff have had more opportunities to encounter filming techniques or new equipment that were difficult to experience before."

LINE Producer Gu Sang-mo learned about the entire production process from practitioners during his time as a production intern and participated in domestic and Italian filming for "Can This Be Translated?" He conveyed, "It is not easy to gain overseas filming experience at my career stage, but it greatly helped broaden my perspective and work actively on-site like I do now."

Netflix collaborates with a total of 122 localization partners, including 119 dubbing studios and 3 subtitle specialist partners, to connect Korean stories with global viewers. The website introduced localization cases, such as translating the sentiment of "Squid Game" into titles in various languages and team-specific colored subtitles for "Physical: Asia."

It also included how audio descriptions and subtitles for the hearing impaired have changed daily life. Audio description writer Kang Nae-young said, "Audio descriptions were provided without a time lag simultaneously with the release of 'Kingdom,'" sharing the moment when acquaintances who use them welcomed it. Sign language instructor and barrier-free content monitor Choi Ha-neul said, "It is good that I can share trends with friends and have common conversation topics."

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*This content was translated by AI.View Original