Netflix has become the top private investor in French audiovisual and cinematic production, with total investments reaching 308 million euros, according to Martin Ajdari, president of the Autorité de régulation de la communication audiovisuelle et numérique (Arcom). This milestone was announced on Friday, September 18, at the La Rochelle fiction festival. Netflix surpassed other private companies in this area in 2025 and is expected to overtake France Télévisions, the public broadcaster, by 2030. France Télévisions invested 406 million euros in audiovisual production and 70 million in cinema, while Netflix allocated 250 million euros to audiovisual and 58 million to cinema. The rise of streaming platforms is part of a broader trend. Since a 2021 decree, platforms like Netflix, Disney+, and HBO Max are required to invest a portion of their revenue into local content creation. In 2025, these platforms collectively invested 525 million euros—up 32% from 2024—bringing the total investment in French audiovisual and cinematic production to 1.64 billion euros, a 2% increase from the previous year. However, traditional television networks, including France Télévisions, TF1, and Canal+, still hold the majority share, though their contributions have declined slightly to 1.118 billion euros from 1.213 billion euros in 2024. The 1.64 billion euros in total investment is divided between 1.2 billion euros for audiovisual content and 446 million euros for cinema. Martin Ajdari of Arcom welcomed the growing role of streaming platforms in supporting the "French cultural exception," a policy aimed at preserving and promoting French culture through media. However, he also noted concerns about the impact of these platforms. While they have become vital to the French entertainment industry, as highlighted by Ted Sarandos, Netflix’s chief content officer, their increasing influence may lead to fewer hours of filming, fewer funded projects, and less diversity in genres compared to traditional broadcasters. Ajdari emphasized the importance of continuing to support France Télévisions, which remains a key player in funding French content. He also called for the inclusion of YouTube, the global video-sharing giant, in the funding system, as it now captures a significant share of advertising revenue. This move, he argued, would help ensure a more balanced and sustainable funding model for French audiovisual and cinematic production.