How Prime Video Local ‘Obsession’ Fuels Latin America Hits, 2026 Plans

Latin American content has become a global powerhouse in the streaming era, attracting millions of viewers worldwide. Amazon Prime Video is seizing the opportunity, betting on the region as a hub of compelling storytelling capable of generating internationally exportable hits.

Leading this charge is Javiera Balmaceda, Amazon Studios’ Head of Originals for Latin America, Canada, and Australia, who attributes the streamer’s regional success to the company’s core leadership principle: “customer obsession.”

For the LatAm originals chief, that translates into a hyper-focus on the local viewer, understanding the audience to create diverse local content.

“What is going to resonate with a Mexican audience? What’s going to resonate with a Brazilian audience?” says Balmaceda. “​What that has taught me from each region is that the hyper focus on local stories does not preclude a global audience. I think when you get the heart of great and good storytelling, it transcends. And what we need to find is what are those cultural touchstones that make it hugely successful.”

Balmaceda understands the landscape intimately. With over two decades of experience in the region, including a tenure as director of programming for HBO Latin America and the past nine years with Amazon, she has overseen a series of hits. These range from reality shows such as De Viaje con los Derbez to the Oscar-nominated drama courtroom Argentina, 1985, which won a Golden Globe for Best Foreign Film.

Building hits through local partnerships

Whether true crime, historical drama, romantic comedies, action thrillers, or reality shows, the company’s goal remains consistent: create powerful content that balances local authenticity with global appeal.

To achieve this, Prime Video has established relationships with top-tier production companies like El Estudio and Cine Vaquero and Pez Caja in Mexico, RCN in Colombia, K&S and Claxson and Yulgok Media in Argentina, O2 Filmes in Brazil and Fábula in Chile.

“We are partnering with the best of the best in the region,” says Balmaceda. “And it’s not necessarily about their credits or their quality. I think that always helps… But it is really more about what is the story that they want to tell.”

This approach has yielded numerous hits across the region. Take Tremembé, a true crime series about a notorious Brazilian prison that houses the country’s most infamous criminals.

She also credits the boost in true crime success to what she calls “things that you can Google that are local stories, that people feel are theirs and that they could learn more about. It’s what’s really breaking out for us at the moment.”

​That formula was also evident in Argentina​’s Cromañón: The Night of the Fire ​a dramatized ​series of the tragic 2004 Buenos Aires nightclub fire that claimed 194 lives.

Nostalgia fueled Colombia​’​s sequel to Betty la Fea​, which shattered viewership records​ and Mentiras, La Serie, adapted from a classic 80s musical, that bec​ame the platform’s biggest premiere in the history of Prime Video Mexico. In Chile, Sayen became the most-watched Latin American Amazon Original film ever on Prime Video​. Meanwhile​, 31 Minutos: Calurosa Navidad generated buzz, with the puppet characters’ appearance on NPR’s Tiny Desk concert that racked up nearly 4 million views in a single day and has since amassed almost 14 million.

Among the numerous regional originals, realities take a slice of the pie with programs such as Los Tinelli, La Isla de las Tentaciones Argentina & Chile (Temptation Island), and LOL: Last One One Laughing Argentina, Colombia and Mexico editions.

Stories That Spark Conversation

The Latin America content slate strategy also involves greenlighting narratives that reflect social realities. A prime example is Belén, a film based on the true story of a woman unjustly imprisoned after being falsely accused of having an illegal abortion in Argentina. The courtroom drama chronicles her battle for freedom and how her case became a flashpoint for reproductive rights in the country.

Belén has resonated deeply with local audiences, making it “number one in Argentina,” notes Balmaceda. Argentina’s official Oscar submission recently made the Academy’s shortlist. “Making this film really is bringing a story about justice and humanity to life.”

For Balmaceda, her ability to greenlight such projects reflects Amazon’s trust in her vision and leadership, as well as the creative latitude it provides storytellers.

​”I am grateful for the freedom and opportunity at Amazon to tell these stories​,” she says.

This commitment to diverse storytelling also extends to originals such as Cada Minuto Cuenta (Every Minute Counts), a drama set against the backdrop of the 1985 Mexico City earthquake produced with Traziende Films, and Vencer o Morir (Victory or Death), a Chilean Amazon Original that follows a guerrilla group of young revolutionaries who fought against Augusto Pinochet’s dictatorship.​

Balancing Nostalgia ​With ​Original Storytelling

Prime Video’s content slate also leans into established IP, most notably with the return of Betty la Fea: La Historia Continúa. The sequel to the late 1990s Colombian telenovela​,​ featuring the original stars, became the most-watched series or movie of all time on Prime Video in Colombia.

Balmaceda admits that while nostalgia is a “beautiful drug,” it can be a double-edged sword if not handled correctly.

“It has to be about great storytelling,” she explains. “And I think with Betty, the Story Continues. It’s exactly that…what happens after a 20-year marriage​? And I feel like that’s so relatable to so many people.”

Balmaceda​ says she’s proud of a powerful 2025 content slate and plans to continue strengthening and building on the platform’s programming success. Looking toward the future, the goal is to balance familiar titles with original ideas.

“​We need to continue to double down on our local stories and to not be afraid,” says Balmaceda. “I think a lot of talk is surfacing on existing IP… And I think now it’s really time to find what is that original story like Nobody Will Miss Us that is going to break out and resonate with audiences.”

In the end, she notes there is not just one set formula to guide content development. Human connection and understanding is key.

“You have to find that balance of content and what is that new story that is going to break out. A lot of data can tell you what happened and can give you some kernels of truth and vision to what’s to come. But really, I think it’s reading, watching other films, consuming culture that really drives and helps my team and I with the decisions on what to move forward with.”

What’s Coming to Prime Video in 2026

While the 2026 slate is already “cooked” and finalized, Balmaceda remains tight-lipped on some specific titles, though she confirms the team is already planning well into 2027.

One major project announced earlier this year is The House of the Spirits (La Casa de los Espíritus), an ambitious adaptation of Isabel Allende’s iconic novel. Produced in partnership with FilmNation and Fábula, the series is filmed in Chile and helmed by showrunners Fernanda Regela and Francisca Alegría.

“They have this beautiful pitch about how to bring this amazing novel to younger generations,” says Balmaceda. “How do we open up the storytelling so it doesn’t feel like homework​ or something ​that you had to read in high school, but something really entertaining and gorgeous.”

The project received extra budgetary attention to meet the high expectations surrounding such a seminal piece of literature.

“We made sure to partner with the best production designers, the best ADs, giving them the room and the time that maybe you don’t do on every show,” she adds.

New and returning shows in 2026 in include:

• La Casa de los Espíritus (The House of the Spirits)
• El Juicio​ (The Trial) – Eugenio Derbez (Acapulco) and Pedro Alonso (Berlín) star as two fathers on opposite sides of a sexual assault case in Mexico, one fighting for his daughter’s justice, the other determined to protect his son at any cost.
• Amor Animal (Animal Love) – A young adult drama about star-crossed lovers from different social classes.
• Barreda – Follows the true story of an Argentine dentist who murdered four family members and manipulated public opinion by portraying himself as the victim.
• La Oficina – Mexican adaptation of The Office set in a soap factory in Aguascalientes, directed by Gaz Alazraki.
• Prefiero la muerte (I Prefer Death) – Teen comedy about young people facing a zombie invasion.
• LOL Buscando Talento: México – The first spin-off of LOL: Last One Laughing Mexico, where Eugenio Derbez, Michelle Rodríguez, Adal Ramones, and “El Capi” Pérez travel across Mexico searching for talented comedians.
• Betty la Fea: La Historia Continúa​ (Betty la Fea: The Story Continues) – Season 3 of the hit series.
• Nadie Nos Va a Extrañar (No One Will Miss Us) – The comedy of five ’90s high school nerds running an under-the-radar homework black market comes back for season 2.
• LOL: Last One Laughing México – Eugenio Derbez hosts season 8 of the comedy competition with a jungle twist.

Improving Discovery of Latin American Originals

As the slate grows, a challenge remains: ensuring these Latin American productions reach ​g​lobal audience​s effectively. The platform currently does not have a dedicated tab identifying these originals. Balmaceda acknowledges that discoverability on the platform is an area for improvement.

“It is on my wish list,” she states. “There’s improvements every day on the product and the algorithm to make sure that audiences are getting served the content that they want to watch.”

Despite the algorithmic ​and platform interface hurdles, shows like No One Will Miss Us and Betty La Fea have seen engagement with US Hispanic viewers, proving the appetite for authentic content exists north of the border.

The momentum behind Latin American content shows no signs of slowing. Between 2020 and 2024, streaming originals in Spanish and Portuguese surged 266%, significantly outpacing content in other languages, according to Parrot Analytics. Latin America’s media streaming market was valued at $11.34 billion in 2024 and is projected to reach $24.69 billion by 2033. Major platforms like Netflix have committed massive investments, including $1 billion to Mexico alone, signaling the region’s growing importance.

The numbers underscore Latin America’s growing importance in the content ecosystem. Streaming originals in Spanish and Portuguese surged 266% between 2020 and 2024, outpacing content in other languages, according to Parrot Analytics. With the region’s media streaming market valued at $11.34 billion in 2024 and projected to reach $24.69 billion by 2033, it’s a competitive landscape ripe with opportunity.

With a robust 2026 slate and ambitious plans already underway for 2027, Balmaceda remains focused on what matters most: stories that resonate locally and travel globally. The next breakout hit, she believes, is already in development somewhere in the region, and she’s determined to find it.

You can check out the interview with Javiera Balmaceda here.