The Spanish audiovisual content market has undergone a radical transformation over the last decade. What used to depend almost exclusively on theatrical releases and subsequent sales to generalist television channels is now organised through a complex digital ecosystem where global platforms, local services and hybrid business models coexist. For international production companies seeking to position their content in Spain, understanding the particularities of digital distribution in Spain is essential. It is not simply a matter of uploading content to a platform: it involves understanding exploitation window strategies, negotiating terms specific to the Spanish market and adapting to an audience with very defined consumption preferences. Spain is one of the most dynamic audiovisual markets in Europe, with a powerful local industry and a growing demand for quality international content.
The digital distribution landscape in Spain
The landscape of audiovisual content distribution in Spain reflects both global trends and the particularities of the local market. The penetration of streaming platforms has grown exponentially, reaching levels comparable to other major European markets, while at the same time maintaining a traditional film industry with significant weight. This coexistence creates unique opportunities for production companies that know how to navigate both worlds.
Main streaming platforms operating in Spain
Major international platforms have made Spain one of their priority markets in Europe. Netflix arrived in the country in 2015 and has since invested significantly in local production, establishing partnerships with Spanish production companies and generating original content that has transcended borders. Amazon Prime Video followed a similar strategy, betting on Spanish series and films that could work both locally and in other Spanish-speaking territories.
Disney+ burst onto the Spanish market with the advantage of its extensive catalogue of established franchises, from Marvel to Pixar, Star Wars and the legacy of the Disney studio itself. Its strategy has focused on combining this historic catalogue with European and Spanish productions that add local value. HBO Max, for its part, has consolidated its presence with a particularly strong catalogue of premium series, although its film offering is also relevant for certain audience segments.
Apple TV+ and SkyShowtime represent two different models of market entry. While Apple is committed to a selective catalogue of high-budget in-house productions, SkyShowtime combines content from Paramount and NBCUniversal with a more competitive pricing strategy. Rakuten TV, although less well known than the former, offers a mixed subscription and rental model that appeals to a specific audience.
All of these digital film distribution platforms compete intensely for Spanish content rights, which has driven up acquisition prices and created significant opportunities for production companies with quality content.
Spanish VOD and OTT platforms
Faced with international giants, Spain has local platforms that have managed to find their niche in the market. Filmin has become an essential reference point for arthouse cinema, independent European cinema and the most daring productions that do not always find a place in generalist catalogues. Its strategy is based on careful content curation, offering restored films, themed cycles and a catalogue that appeals to discerning film buffs.
FlixOlé occupies a completely different niche: it is the leading platform for classic and contemporary Spanish cinema. With the largest catalogue of Spanish films available for streaming, it has positioned itself as the preferred option for those seeking national productions, from classics from the golden age to recent releases. Its value lies in offering content that international platforms often overlook.
Movistar Plus+ represents a special case: born as a cable and satellite television operator, it has evolved into a hybrid model that combines linear channels with an extensive on-demand catalogue. Its strength in the Spanish market stems from preferential agreements with Spanish film distribution companies and sustained investment in original production.
These local platforms understand the particularities of the Spanish audience in a way that international services are still learning. They know which genres work best, which actors and directors generate interest, and how to position content to maximise its impact.
Role of public broadcasters and local services
Public operators continue to play an important role in Spain’s digital distribution ecosystem, although their model has had to adapt radically to the digital age. RTVE, the public radio and television corporation, operates RTVE Play, a platform that offers both linear programming and an on-demand catalogue of its own productions and acquired content.
Regional television stations, such as TV3 in Catalonia, Telemadrid in Madrid and Canal Sur in Andalusia, have developed their own streaming services that function as additional distribution windows for locally produced content. Although their reach is smaller than that of commercial platforms, they represent specific opportunities for certain types of content, especially documentaries, family series and cultural productions.
The advantage of working with public operators lies in their public service role, which allows them to invest in content that may not have immediate commercial viability but has cultural or educational value. For production companies with projects of this profile, these platforms can be strategic allies.
Terms and agreements in Spanish film distribution
Navigating film distribution terms in the Spanish market requires an understanding of both standard international practices and local particularities. The Spanish legal framework, derived from European regulations but with its own adaptations, establishes specific conditions that affect how agreements are structured.
Distribution agreements
A film distribution agreement in Spain defines the contractual relationship between the producer or rights holder and the entity responsible for marketing the content. These agreements vary significantly depending on the type of distribution (cinemas, digital platforms, television) and the distributor’s profile.
Contracts typically specify the duration of the licence, which can range from short six-month windows to multi-year agreements. In the digital context, streaming platforms often seek periods of exclusivity that allow them to recoup their investment, while producers try to maintain some flexibility to exploit the content across multiple windows.
Revenue sharing is another crucial aspect. In digital distribution, models vary: some platforms pay a fixed advance plus a share of revenue, others work exclusively with guaranteed payments, and some operate with royalty systems based on views. Spanish film distribution companies have developed expertise in negotiating these terms, adapting them to the realities of the local market.
The agreements also establish responsibilities for marketing costs, localisation (subtitling and dubbing), and compliance with European content quotas imposed by Spanish regulations. A particular aspect of the Spanish market is the importance of dubbing: although subtitling has gained ground, especially among young audiences, professional dubbing remains essential to reach the mass audience.
Licensing rights in Spain
Film licensing rights in Spain are structured according to principles similar to those in other European markets, but with important nuances. Spanish intellectual property legislation, updated to incorporate European directives on digital rights, establishes the framework within which these rights operate.
Rights can be licensed on an exclusive or non-exclusive basis, depending on the film distribution strategy. An exclusive licence for a specific platform for a given period usually generates higher initial revenues but limits other exploitation opportunities. Non-exclusive licences maximise exposure but can dilute the perceived value of the content.
Territoriality is particularly important when negotiating content in Spanish. Rights for Spain do not automatically include other Spanish-speaking territories, although packages covering Spain and Latin America are sometimes negotiated. Production companies must carefully clarify which territories each agreement covers to avoid subsequent conflicts.
Digital distribution channels have complicated traditional rights management. Whereas previously there were clear, sequential windows (cinema, home video, pay-per-view, pay television, free-to-air television), digital platforms now seek to release content simultaneously in multiple territories, requiring complex coordination of rights across different jurisdictions.
Strategies for digital distribution in Spain
Developing an effective film distribution strategy for the Spanish market requires combining knowledge of the local ecosystem with international best practices. There is no one-size-fits-all approach for all projects: each piece of content requires a customised strategy based on its genre, budget, audience profile and commercial objectives.
For feature films with broad commercial appeal, the traditional route remains valid: theatrical release to generate visibility and reviews, followed by a window on premium platforms (usually with a period of exclusivity), and then wider distribution on rental and subscription services. This strategy maximises revenue in each window while building brand recognition.
Independent and arthouse cinema, however, can benefit from alternative strategies. A day-and-date release (simultaneous in cinemas and on digital platforms) allows them to reach audiences who do not have access to arthouse cinemas, especially outside major cities. Filmin has proven particularly receptive to this model, offering digital releases coordinated with limited screenings in selected cinemas.
Documentaries represent another special case. Although their theatrical run is usually limited, streaming platforms have shown an appetite for quality documentaries. The strategy may include a presence at international festivals to build reputation, followed by direct sales to platforms or partnerships with specialised distributors who know this niche.
Working with a film industry sales agent with experience in the Spanish market can be decisive. These professionals know the preferences of each platform, maintain established relationships with buyers, and understand what content is in demand at any given time. A good film distribution sales agent, beyond selling, helps you position your film appropriately, time its release, and negotiate favourable terms.
Specialised Spanish film distribution companies, such as those grouped under Fedicine (general distributors) or Adicine (independent distributors), provide in-depth knowledge of the local market. They can manage complex aspects such as professional dubbing, obtaining age ratings, and relationships with exhibitors that remain relevant for certain content profiles.
Specialised Spanish platforms offer specific opportunities. FlixOlé actively seeks classic and contemporary Spanish content. Filmin focuses on European and Latin American arthouse cinema. Movistar Plus+ has preferential relationships with Spanish distributors. Knowing the profile of each platform allows you to direct your efforts towards the most suitable partners.
The strategy should also consider digital marketing, especially on social media, where the Spanish audience is very active. Organic promotion through film influencers, presence at festivals that generate media coverage, and building a community around the project can significantly amplify the impact of the investment in distribution.
International perspective on Spain’s distribution market
From an international perspective, Spain represents a mature film market with characteristics that make it particularly attractive to foreign production companies. Its geographical location, well-established audiovisual industry and first-rate technical production capabilities make it a strategic partner for ambitious projects.
Why Spain is a strong partner for co-productions
Las coproducciones representan una vía cada vez más relevante para acceder al mercado español de distribución digital. España mantiene tratados de coproducción con numerosos países europeos y latinoamericanos, lo que facilita el acceso a incentivos fiscales, fondos públicos y cuotas de pantalla. Una película realizada en coproducción con una empresa española califica como producción europea, abriendo puertas tanto en el mercado español como en el resto de la Unión Europea.
Co-productions are an increasingly important way to access the Spanish digital distribution market. Spain has co-production agreements with numerous European and Latin American countries, which facilitates access to tax incentives, public funds and screen quotas. A film made in co-production with a Spanish company qualifies as a European production, opening doors both in the Spanish market and in the rest of the European Union.
Spanish tax incentives, which can reach up to 30% of expenses incurred in Spanish territory (with specific limits and conditions), make filming in Spain financially attractive. These incentives are combined with subsidies from the ICAA (Institute of Cinematography and Audiovisual Arts) and regional bodies, creating a robust financing ecosystem.
In addition, Spain provides technical and creative value. Spanish technical teams are internationally recognised, production infrastructure (studios, equipment, post-production services) is first-rate, and the diversity of locations allows virtually any environment to be recreated without leaving the country.
From a distribution perspective, a Spanish co-production facilitates access to local distributors that may be difficult to reach for purely foreign productions. The Spanish component of the project generates natural interest among national platforms and exhibitors, while the international component brings sales potential in other territories.
What makes Spain different from other markets
The Spanish audiovisual content distribution market has certain characteristics that distinguish it from other European markets. One of the most significant is the continued importance of dubbing. While countries such as the Netherlands and Scandinavia mainly consume subtitled content, in Spain professional dubbing remains essential for reaching the mass audience. This entails additional localisation costs that must be taken into account in the distribution budget.
The distribution window structure also has its own characteristics. Although pressure from streaming platforms has shortened deadlines, Spain maintains a certain level of protection for the cinema window that is stricter than in other markets. Agreements between distributors, exhibitors and platforms establish minimum periods between theatrical release and digital availability that can affect release strategy.
The Spanish public shows specific preferences in terms of genres. Spanish comedy films are extremely popular, with local films regularly outperforming international blockbusters at the box office. Spanish thrillers have also gained ground, especially on digital platforms where series such as ‘La Casa de Papel’ have demonstrated the global appetite for this type of content.
The geographical concentration of cultural consumption is also relevant. Madrid and Barcelona account for a disproportionate share of film exhibition and cultural consumption, but digital platforms have democratised access, allowing quality content to reach audiences throughout Spain.
What foreign producers should know before distributing in Spain
For foreign production companies considering distributing content in Spain, several aspects deserve specific attention. First, the importance of having local partners who understand the peculiarities of the market. Whether they are film distribution sales agents with experience in Spain or established local distributors, these allies are essential for navigating a market that, although open, has its own dynamics.
Spanish regulations on European content quotas affect streaming platforms, requiring them to include a minimum percentage of European productions in their catalogues. This creates opportunities for content that qualifies as European, but it is necessary to ensure that the project meets the established criteria.
Tax issues deserve careful attention. Income generated from distribution in Spain is subject to withholding taxes that vary depending on whether or not there are double taxation treaties between Spain and the rights holder’s country of origin. Seeking specialised tax advice can help avoid unpleasant surprises and optimise the financial structure of the agreement.
Timing also matters. The Spanish market has its own high and low seasons, with periods such as summer or Christmas generating peaks in consumption. Launching content at the right time, avoiding competition with major releases or events that capture the public’s attention, can make the difference between success and failure.
Finally, intellectual property protection in Spain works well within the European legal framework, but piracy remains a challenge. Working with distributors who implement technical protection measures and actively monitor the emergence of illegal copies helps preserve the value of the content.
How Spain Film Commission helps international productions with digital distribution
At Spain Film Commission, our commitment goes beyond facilitating filming in Spain. We understand that a production’s journey does not end with the last take, but continues until the content reaches its audience. That is why we also accompany international production companies in the distribution phase, especially in the digital sphere.
Our network of contacts includes the main players in the digital distribution ecosystem in Spain: from global and local streaming platforms to specialised distributors, film industry sales agents with experience in the Spanish market, and content acquisition executives at public and private operators.
We can facilitate contact with film distribution companies such as those grouped under Fedicine and Adicine, which represent both large distributors and specialised independent companies. These contacts, built up through years of collaboration on multiple projects, can open doors that would otherwise be difficult to access.
We also provide up-to-date information on tax incentives, grants and public funds that can be applied not only to production but also to content distribution. The landscape of aid changes periodically, and we keep our knowledge up to date in order to properly advise the production companies we work with.
Our advice includes guidance on the legal and tax particularities of the Spanish market, connecting production companies with specialist advisers when technical expertise is required in areas such as distribution contracts, copyright or the tax structuring of international agreements.
For projects in the development phase, we can help design film distribution strategies that take the Spanish market into account from the outset, optimising decisions on casting, locations or creative elements that may subsequently facilitate marketing in Spain without compromising the artistic integrity of the project.
Our goal is for international production companies to see Spain as a strategic distribution market and a potential partner for co-productions that amplify the reach of their projects. The Spanish audiovisual industry has matured significantly in recent decades, and we want to ensure that production companies around the world can benefit from everything this market has to offer, from the initial idea to the moment the content finds its audience.
