Movies on FAST channels: spotlight or sideshow?
In the fast-evolving world of free ad-supported streaming television (FAST), movie channels have quietly carved out a meaningful niche, yet they still struggle to command the visibility they deserve. To gauge their true footprint, I examined Samsung TV Plus, one of the fastest-growing FAST platforms across the US and Europe’s five largest markets (EU5) to answer the question: Movies on FAST channels: spotlight or sideshow?
Samsung TV Plus movie channels. Source: Streaming Made Easy
The Weight of Movie Channels
Across the six markets I tracked, Samsung TV Plus offers between 144 and 461 channels, but only a fraction are dedicated to movies. In the United States, for example, just 17 out of 461 channels (3.7%) carry only films. By contrast, Italy boasts 37 movie-only channels out of a total of 144, accounting for more than one quarter (25.7 %) of its lineup. Germany and France also show above-average movie-channel penetration, with roughly 24% and 18% respectively, while the United Kingdom and Spain both hover in the mid-teens. These figures suggest that European viewers, especially in Germany and Italy, demonstrate stronger appetite for linear movie channels within FAST.
Samsung TV+ genre breakdown by market. Chart by Streaming Made Easy
A Half-Decade of Expansion
Since 2020, the growth in movie-only channels on Samsung TV Plus has been nothing short of explosive. In Italy, the count jumped from six channels in 2020 to 37 today (a 517% increase). The United Kingdom saw its slate swell from nine to 23 channels (+156%t), Germany rose from ten to 25 (+150%), and the US expanded from six to 17 (+183%).
Although we lack complete historical data for France and Spain, preliminary snapshots indicate similar upward trends. This rapid expansion underscores both heightened licensing activity and a strategic push by platform operators to diversify their FAST offerings.
Genre Strategies and Niche Plays
Movie channels on FAST tend to specialize narrowly, either by genre or by geographic origin. Multi-genre “hits” channels sit alongside dedicated drama and action feeds, while niche outlets focus on local cinema (such as Cinemalizia in Italy which carries exclusively Italian drama).
Comedy and classic movie channels are less ubiquitous, and horror or children’s movie channels remain rare across all markets. This skew toward broad-appeal genres suggests that operators prioritize channels with proven audience demand, while more specialized or youth-oriented film content is still finding its footing in the FAST ecosystem.
On-Screen Visibility and Promotion
Despite the growing number of movie channels, their placement within Samsung TV Plus varies dramatically. The platform’s user interface categorizes content into sections (Live TV, Movies, Music and Kids) and offers multiple promotional hooks, including AC tiles, launcher ads, banners and the coveted “Featured Channel” slots at the top of the electronic program guide (EPG).
In the US, movie channels enjoy a prime position, grouped together near the EPG’s summit, just behind news and opinion channels. In Europe, however, most movie feeds languish at the bottom of the guide except for a handful of outliers that have likely secured temporary EPG featuring agreements.
The Case for Movie Channels on FAST
With 151 movie-only channels across the US and EU5 on Samsung TV Plus, demand is clearly present. Yet their overall prominence pales compared to news, sports, and reality programming. Several factors may explain this gap: viewership and ad-revenue potential for unscripted genres often outperform finite movie runs; FAST’s “lean-back” promise aligns more naturally with continuous content such as news and sports; consumers can access many films on other platforms before they ever reach FAST; and licensing deals typically cover library titles under revenue-share or modest flat-fee models, limiting marquee appeal. Additionally, many movie-channel brands are thematic newcomers lacking the built-in marketing power of single-IP channels. In a crowded FAST marketplace, operators have had to choose where to allocate premium EPG real estate, and movies have frequently come in second.
Looking ahead, there is room for both expansion in channel count and elevated UI prominence. If operators can secure higher-profile EPG positions and experiment with themed premieres or movie marathons, they may re-ignite viewer interest and captivate new audiences.
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