Indian audio and video content, usually considered a draw for domestic audiences and specific diasporic markets, is now finding a home in unusual export destinations.
Saudi Arabia, Egypt and the Philippines are among the countries where Indian content is popular, according to the Content Trends Report launched recently at the Content India Summit 2026, organized by Dish TV.
Experts said this demand is not diaspora-led, unlike more established markets such as the US or the UK. Instead, it appears to be driven by cultural alignment. Indian storytelling—especially emotion-led narratives, family dynamics and mythology—tends to resonate strongly with audiences in these regions.
To build on this trend, platforms are rethinking storytelling, distribution and pricing in a more nuanced and market-specific manner.
“We’re seeing a noticeable rise in non-traditional markets emerging as strong consumers of Indian content—particularly Southeast Asia including Indonesia, Thailand and Vietnam, the Middle East beyond the UAE, parts of Africa such as Nigeria and Kenya, and regions within Eastern Europe or CIS (Commonwealth of Independent States),” said Nitin Burman, chief revenue officer, Balaji Telefilms.
These emerging markets represent a high-growth frontier, Burman added. The increased availability of dubbed and subtitled content, along with improving digital infrastructure, affordable smartphones and wider OTT access, has played a significant role in accelerating this shift.
Compared to the saturated Western markets, the competitive intensity is lower, engagement with culturally aligned content is significantly higher, and OTT penetration still has a long runway.
Lalit Gangwar, senior vice-president and head of US at Pocket FM, an audio streaming platform, said stories rooted in Indian storytelling traditions with emotionally rich narratives, high-stakes character arcs and mythology-inspired worlds resonate deeply with audiences beyond the traditional diaspora.
Adapting stories
One of its Indian programmes, Mahagatha, has been reimagined as Forged Through Pain for the US market, showcasing how an Indian story can be adapted to suit Western sensibilities while retaining its emotional core.
“This shift is largely driven by the universality of themes such as ambition, love, power and morality, combined with a growing openness among audiences in the US and Europe to explore fresh, global narratives beyond their traditional content ecosystems. Additionally, serialized storytelling formats, especially in audio, are enabling deeper engagement and long-term audience retention,” Gangwar added.
Ujjwal Mahajan, co-founder of Chaupal, a platform specializing in Punjabi, Haryanvi and Bhojpuri content, called Italy one of the fastest-rising markets and noted that the company sees subscribers in Kenya and Ethiopia as well.
“Indian content is no longer meant just for diaspora export,” agreed Manoj Dobhal, CEO and executive director of Dish TV India, adding that genres like romantic comedies and family dramas are working as far as Latin America thanks to dubbing and subtitling.
The advantages of catering to non-traditional markets include average revenue per user that’s four to five times higher than in India. Overseas customers also have a higher retention value than Indian ones.
“For a long time, growth has been tied closely to how much you can extract from the local market, which comes with its own constraints. Expanding globally changes that equation,” said Sharlton M, vice-president - IP and key partnerships at storytelling platform Pratilipi. It allows producers to build a meaningful international licensing business, which reduces dependence on any one platform or region. If the domestic market slows down or consolidates, your stories still have value elsewhere.”
Over time, this also opens up the possibility of building more diversified media businesses, instead of relying on one format or one buyer, Sharlton said.
Intuitive storytelling
Referring to parts of Latin America including Brazil, and Egypt and Saudi Arabia as mirror markets, Sharlton said the connection here isn’t about geography – it’s about emotional familiarity. There’s also a natural comfort with heightened drama, which makes Indian storytelling feel intuitive rather than foreign.
Then you have Southeast Asia, especially Indonesia and the Philippines, where the similarity is not just cultural but also structural. These are largely mobile-first markets, much like India.
Audiences here consume content in short, fast bursts, which has opened up space for formats like micro-dramas. These are quick, high-engagement stories that match the pace and style of how people are watching content today.
However, emerging markets come with challenges such as understanding local preferences and cultural differences, which can be quite tricky. Rajat Agrawal, chief operating officer of Ultra Media & Entertainment Group, said content adaptation and localization might be needed for wider acceptance.
At the same time, local content and global platforms are vying for the same audience attention. Also, infrastructure and payment systems with varied internet connectivity and payment methods can hinder growth.
“Cultural nuances don’t always translate cleanly. A storyline that works in India may feel too long, too melodramatic or too context-heavy elsewhere. Competition is another factor. Indian content has to compete on both storytelling and production quality. So success will depend on consistency, not just one breakout title, but a steady pipeline that audiences can come back to,” said Charu Malhotra, co-founder and managing director of Primus Partners, a management consultancy firm.