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Netflix, Apple and Amazon lead VOD in Portugal

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Portugal has 14 subscription television services and around 1.4 million subscribers, with this market being led by the Netflix platform, revealed the European Audiovisual Observatory (OAS).

The data are contained in a report on consumption trends for subscription television services on demand (“Video on Demand” or VOD) in 2020 in the European Union, compiled by that body, and which identify a change in the consumption of audiovisual content with the entry of new operators, such as streaming.

According to the OAS, the three most relevant VOD operators in the Portuguese market are Netflix (47%), AppleTV (21%) and Amazon (13%). Referring to 2019, the report also indicates that 22 out of every 100 Portuguese households had access to at least one subscription television service; slightly above the European Union average of 18 out of 100.

Netflix Apple and Amazon lead VOD in Portugal

Despite this indicator, revenues from VOD services in Portugal in 2019 represented only 1.1% of the total national audiovisual market, placing it in the last place, in a ranking led by Denmark, with 14.8%.

Overall, the report indicates that those services from new entrants in the European area generated 11.6 billion euros of revenue in 2020, that is thirty times more than in 2010, the year in which 388.8 million euros of revenue were generated .

In 2010 there were 28.7 million European subscribers to VOD services. A decade later, the figure rose to 140 million subscribers. In 2010, television channel services had 137.2 million customers and a decade later, the value stood at 144.5 million.

Among all the new operators operating in Europe, Netflix led the market in 2020, with 5.3 billion euros in revenue and 54.4 million subscribers in 28 countries, followed by Amazon Prime Video with 910 million euros of revenue and 29 million subscribers.

1613224131 817 Netflix Apple and Amazon lead VOD in Portugal

In Portugal, the legislation, which comes into force this month, but still lacks regulation, provides, for example, that those operators are subject to “the payment of an annual fee corresponding to 1% of the amount of the relevant income of these operators”.

The proceeds from the collection of this new fee revert to the own revenues of the Instituto do Cinema e Audiovisual (ICA). If it is not possible to determine the value of the relevant income of these operators, “it is assumed that the annual fee is one million euros”.

In France, the government wanted platforms for streaming invest between 20% and 25% of the income they have in this market. In Portugal, those platforms will also have investment obligations in cinema and audiovisual in Portugal, similar to what is already happening with other operators.

It is defined that the investment obligation is exercised with “total freedom of choice” and if it is not possible to determine the value of the relevant income of the operators, the annual investment value is fixed at four million euros.

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