Global production falls 17% in Q3 as industry rebalance content strategies

The global film and television production industry is undergoing a significant structural realignment, as evidenced in the report “Global Film & TV Productions Review – Q3 2025” published by Vitrina. The data shows that production volumes across the first nine months of 2025 dropped by 17% worldwide, signaling not just a cyclical slowdown but a deliberate rebalancing of content strategy. Rather than a uniform retreat, this decline masks divergent regional trends and a shift toward more cost‑efficient production pipelines.

In North America (US/Canada), the report notes that the market has settled into a “cost‑focused environment,” where small‑to‑medium‑sized projects are now the anchor of the supply chain while higher‑budget productions have yet to return to pre‑strike levels. Meanwhile, the Asia‑Pacific region bucked the broader global trend with a 30% increase in production volume in July, driven in part by English‑language commissioned content from Australia and New Zealand. In contrast, Latin America faced a marked contraction in commissioning and financing activity during the same period.

In Europe, Middle East & Africa (EMEA), the landscape continues to be dominated by public service broadcasters, though with a heightened emphasis on cost control rather than volume growth. For example, the report highlights that regional financing bodies such as Germany’s Filmförderungsanstalt (FFA) and Australia’s Screen Australia are now favouring smaller‑budget theatrical and television projects. FFA’s slate in 2025 remains 97% scripted films, while Screen Australia’s portfolio comprises 56% movies and 42% TV series. Another key insight: Montreal‑based SODEC’s portfolio is 86% films and 76% scripted for its French‑language content.

The shift to lower‑budget, high‑efficiency production is described by Vitrina as part of a “profound rebalancing of the industry’s value spectrum.” It means that while global volumes may be down, a greater share of resources is being reallocated toward leaner formats, international co‑productions, and niche language markets. For example, the rise of tax‑incentive migration has triggered a production migration away from traditional hubs into more cost‑efficient locations.

“Global production is not in decline — it is in a dynamic transition,” states the report. The analysis further emphasises that studios and streamers are increasingly seeking lower‑risk pipelines, more modular formats, and more diversified territorial strategies, rather than betting solely on big‑budget tentpoles. This change is driven by ongoing capital constraints, macroeconomic uncertainty, and the residual impact of the 2023 Hollywood strikes on scripted pipelines.

For executives in commissioning, financing and content acquisition, the findings highlight that the future of supply will be defined not by size but by efficiency, flexibility and global reach. As production pipelines tighten and budgets recalibrate, companies that adapt—by leveraging international hubs, controlled budgets and multi‑territory formats—are likely to emerge stronger in this evolving content economy.