The report, “Netflix in Thailand: Supporting the Future of Local Storytelling,” was unveiled at a press event at the 515 Victory event space in Bangkok with Thai government officials, filmmakers, press members and Netflix executives in attendance.

Netflix invested $200 million in Thai-based productions, which resulted in 20 films and series and employed 13,500 cast and crew across all levels of the creative industry between 2021 and 2024, according to the report, which also pointed out that the streamer has regularly licensed existing Thai titles that have also been a part of the programming slate.

Its 2025 slate consists of nine local originals, including six films (“Ziam,” the just-released “Gold Rush Gang” and upcoming “Same Day with Someone”) and three series (“Dalah: Death and Flowers,” “Mad Unicorn” and the upcoming second season of “The Believers”).

“With a dedicated team in Bangkok, we’re deeply rooted in Thailand’s creative community. Our productions go beyond the beautiful locations of Thailand to tap into the artistry and authenticity of local storytelling. We’re collaborating with exciting local creators to tell stories that they can’t tell anywhere else, and that resonate deeply with Thai audiences,” says Malobika Banerji, head of content in Southeast Asia at Netflix. “Today’s new report showcases how Netflix’s investment contributes to Thailand’s creative economy — highlighting the scale of our support and its impact in creating jobs, building capabilities, and expanding local opportunities,” Banerji continued.

Following the report unveiling, a panel further exploring Netflix’s commitment to Thai productions was held with Ruben Hattari, Netflix’s director of global affairs in Southeast Asia; Prabda Yoon, producer and writer of Netflix’s film “Bangkok Breaking: Heaven and Hell” and series “Dalah: Death and the Flowers;” and Chakrit Pichyangkul, executive director and creative economy agency (CEA) participating.

Hattari said Netflix has been focusing on authentic Thai content to reflect the community and culture not only for the sake of Thai audiences but international audiences that are also watching the programming. In fact, more than 15 Thai originals have landed in the streamer’s Global Top 10 Non-English list.

While horror is a huge draw to Thai audiences, other popular genres in Thailand are comedy drama and BL (Boys’ Love) projects, Yoon said. Hattari added that “One of the wonderful things about Netflix is that we are available in over 190 countries, and we have over 300 million members and no two members enjoy the same taste so when you think about bringing content to our service, we want to make sure that we have as diverse content as possible.” So far, that broad thinking and execution of projects clearly has served the streamer very well.

“We have seen a growing appreciation for local content not only in domestic markets but across other countries as well,” Hattari said during the panel. “In 2024 alone on our service, roughly more than 750 million hours were spent watching Thai content. Hopefully that number will continue to grow and we can only do that through the wonderful partnerships.”

Those partnerships come from the country’s generous government incentives but also through partnerships with other companies, like the Creative Economy Agency which also invests in talent and emerging technologies. “Through CEA’s Content Lab, we are nurturing local talent and fueling the growth of Thailand’s creative industries,” says Pichyangkul. “In partnership with Netflix’s Fund for Creative Equity, we empower emerging creators in cities beyond Bangkok, equipping them with skills, fostering inclusion and helping advance Thailand’s ambition to upskill 20 million people by 2027.”

The panelists also agreed that local authenticity can only be achieved by both understanding and being an active part of the creative landscape on the local level. “We want to understand the local nuances and we want to understand the local taste and preference and we can only do that if we have a strong local team,” Hattari said. “We do that by having folks here that are on the ground that really are deeply rooted in the film industry that really understand all of the tastes and also understand the partners, as well.” In addition, he said working in the local ecosystem can also help them maintain the authenticity in their productions now and into the future.

Netflix is also having a big impact on local tourism. The report indeed stressed that productions are not only focused on metropolitan centers like Bangkok but lesser-known areas of Thailand, which has helped boost tourism in those spaces. For example, the 2024 series “Master of the House” filmed at Chateau De Khaoyai in Nakhon Ratchasima, the country’s third largest city, while the 2023 film “Analog Squad” filmed in mountains and beaches found in the south in Phang Nga.