Russian online cinemas reported a shift in demand for TV series, as major Hollywood studios withdrew from Russia following the country’s special operation in Ukraine. In this context, Russian platforms began purchasing Turkish and Korean series in bulk, a move noted by RBC through conversations with the leading players in the Russian video market. The change wasn’t about a sudden love for foreign stories; it reflected a strategic pivot in catalog strategy and consumer preference as the supply landscape contracted and the audience looked for fresh options close to home and regionally relevant content.
Data from Kinopoisk Pro Index shows nuanced audience tastes. Within the broader category of TV series, Turkish titles captured about 8 percent of viewer interest, while Korean titles accounted for roughly 3.2 percent. These figures illustrate a staged interest rather than overwhelming demand, suggesting that Turkish productions could find a solid, dedicated slice of the audience while Korean offerings faced more limited traction in the Russian market. The numbers also hint at cultural proximity and storytelling styles that resonate differently with Russian viewers, depending on genre, star power, and production value.
Speaking about the Turkish slate, Premier Online Cinema’s Deputy General Manager Makar Kozhukhov highlighted a clear potential for Turkish content among a specific segment of viewers. The audience segment has shown sustained curiosity for Turkish drama, with the TV series Kapımı Çal standing out as a point of interest driving engagement and repeat viewing. This suggests that a well-curated Turkish catalog, featuring popular titles alongside fresh releases, can cultivate a loyal audience base even amid a limited overall market share.
On the other hand, Korean drama did not gain the same foothold with Russian audiences. Kozhukhov attributed this to a sizable cultural difference that can affect the immediacy of emotional connection and subscription decisions. Premier’s catalog currently lacks extended commitment to Korean dramas beyond a notable animation project, Larva, which has enjoyed popularity among younger viewers. There are no announced plans to broaden the Korean offerings in the platform’s library, indicating a strategic focus on other regional productions that align more closely with viewer preferences and platform economics.
When looking at user behavior in 2023, the majority of Premier users — about 97 percent — favored Russian films and TV series. This strong preference underscores the enduring demand for locally produced content and the importance of investing in homegrown storytelling that speaks directly to national viewers. It also points to a broader trend across the streaming landscape: despite the appeal of foreign titles, domestic productions often secure higher engagement, longer watch times, and stronger brand loyalty among subscribers who identify with local culture and language. The data reinforces the value of a mixed catalog that strengthens the home portfolio while selectively incorporating international titles that complement regional tastes.
Earlier market observations showed that a significant portion of the population connected with the world of serialized storytelling. For instance, there was notable audience reach when a popular series, The Boy’s Word, was explored by a sizable share of the Russian viewing public. This highlights how a single compelling program can shape viewing patterns and expand the appetite for serialized narratives across platforms. The evolving dynamics suggest that studios and streaming services should monitor shifts in cultural trends, consumer sentiment, and platform-specific incentives to optimize catalog selection and promotional strategies in both the Russian Federation and neighboring markets.