Phenomenon or consolidation? The rise of Korean content in Brazil 

Over the past year, Korean dramas (K-Dramas) have emerged as one of the fastest-growing genres in Brazil. Currently, 19% of households with internet access in the country show interest in this type of content. According to Fabric’s data, this preference grew by 30% between Q4 2023 and the same period in 2024, while other popular genres declined: comedy (-5%), adventure (-8%), and animation (-9%). 

Brazil has the largest audiovisual catalog in Latin America, with more than 183,000 titles available. While only 1% of these are South Korean productions, Brazil ranks seventh globally for the number of available Korean titles (1,700) and second in Latin America, behind only Mexico (1,900). This content is primarily distributed through subscription-based models (43%), followed by free options with or without ads (37%) and ad-supported subscriptions (13%). 

 A genre driven by women and embraced by multiple platforms 

Audience profiles show that women are the main drivers of K-Drama popularity in Brazil: their preference (26%) is double that of men (11%). This trend is also reflected in content expectations across major platforms. 

Disney+ leads in overall K-Drama preference among its subscribers (31%), and it’s also the platform with the highest proportion of women interested in this genre (37%). Max users also show strong affinity for K-Dramas (29%), with a significant female skew (39%). However, 15% of users on both platforms say they would like to see even more of this type of content. 

On Netflix, 27% of users express interest in K-Dramas (34% for women). Although the platform has invested significantly in original Korean content, 12% of its users feel there’s a lack of this type of content, rising to 15% among women (and 18% when asked specifically about “doramas”). 

Prime Video also sees a 27% overall preference for K-Dramas, tying even with Japanese anime on the platform. However, 15% of its subscribers believe the K-Drama offering is insufficient, rising to 22% among women. 

This comparison shows that demand for K-Dramas in Brazil cuts across multiple platforms and isn’t limited to those with the largest catalogs. Disney+ and Max stand out for both their high overall preference and the strong female audience, while Netflix and Prime Video also have highly interested audiences but face a clearer perception of content gaps. These insights highlight the need for platforms to adapt their catalogs not only in terms of quantity but also to the demographic profile and expectations of their subscribers. 

Top titles and platform participation 

The growth in demand is also reflected in the popularity of specific titles. Among the most prominent K-Dramas in Brazil in 2025 are Squid Game (2021), boosted by the launch of its second season; When Life Gives You Tangerines, released in 2025; and When the Phone Rings (2024). Most of these productions are Netflix originals, which is the most widely used platform in the country (58%) and one of the biggest investors in original Korean content. 

However, looking at the broader landscape, other specialized platforms play a significant role in the availability of Korean content. Rakuten Viki leads in the number of Korean titles available in Brazil (780+), followed by KOCOWA+ (600+), Netflix (410+), OnDemandKorea (90+), and Prime Video (60+). While Netflix has fewer titles than these specialized platforms, 56% of its Korean catalog consists of original productions. 

On the other hand, even though the number of Korean titles available in Brazil has steadily declined since 2020, audience affinity has grown. So far in 2025, more than 20 Korean titles have already been released, 50% of which are Netflix originals. Devil May Cry (Netflix), The Trauma Code: Heroes on Call (Netflix), and When the Stars Gossip (Netflix) are some of the original titles already available. 

Korean titles have managed to establish themselves as content of interest for Brazilian audiences. This context of limited supply and high demand underscores the need to align programming with the real preferences of viewers. Having precise and up-to-date information about audience behavior becomes essential to optimize catalogs, anticipate trends, and improve the efficiency of content distribution.