…amid holiday box office rush
Some Nollywood filmmakers have raised concerns about cinema operators in Nigeria favouring certain films with better showtimes during the busy December holiday season.
Directors and producers, including Niyi Akinmolayan, Ini Edo, and Toyin Abraham, claim that theaters are not honouring agreed-upon screening schedules, leading to reduced attendance and revenue for their projects.
Since the early 2020s, Nollywood has experienced growth in cinema revenue, with some films crossing the N1 billion mark. This year, box office revenue for 2025 are predicted by FilmOne to reach N15 billion after it surpassed last year’s N13 billion revenue in October.
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Funke Akindele has achieved the N1 billion milestone multiple times, and her recent project became the fastest Nollywood movie to reach N500 million. Industry observers note that Akindele’s films benefit from her large fan base and strategic time slots at cinemas across Nigeria. However, other filmmakers argue that the disparity in showtimes is not just due to popularity but also to cinemas failing to uphold commitments.
Niyi Akinmolayan, Founder of Anthill Studios and Director of ‘Colours of Fire,’ which was released on Christmas Day 2025, addressed the issue in a video posted on X. He clarified that the challenges arise from theaters being unprepared for the December rush, rather than rivalry among filmmakers.
“It would be foolish for us to think that all films have the same audience or potential. Movies with parental guidance do better than films rated for adults,” Akinmolayan stated in a related post. “They are simply asking cinemas to honour agreements. Show my film at the time you said you will show it.”
He emphasised that filmmakers are not competing against each other but seeking fair treatment from exhibitors, whether for general or niche audiences.
Akinmolayan also criticised unannounced technical glitches at cinemas without refunds, especially amid competition from Hollywood releases and Nigeria’s economic pressures. He urged unity in the industry to model healthy competition for younger talents and avoid division.
On X, viewers have voiced complaint during recent holiday screenings, such as inconsistent showtimes in locations such as Abuja, Akure, and parts of Lagos.
‘Colours of Fire’, ‘A Very Dirty Christmas’ and ‘Over Sabi Aunty’ have faced these issues despite its release alongside other major Hollywood and Nollywood titles, industry players said.
Ini Edo, making her debut as a producer with ‘A Very Dirty Christmas,’ expressed similar frustrations on Instagram. She described the experience as ‘exhausting’ and emotionally draining, given her personal investment in the project. Edo shared videos of audience complaints about screening mishandlings and accused cinemas of deliberate sabotage.
“Some cinemas engage in unfair practices, such as assigning poor time slots and limited screenings that hinder viewership,” she said. She noted that her film is often limited to one screening per day, typically in the early morning when “moviegoers are least likely to turn out—still asleep or not yet venturing out.”
Coming in as a newcomer in production, she suggested the barriers are targeted to undermine her efforts, highlighting how suboptimal slots lead to quick sell-outs and frustrated fans. This, she argued, creates a cycle where favoured films gain more screens based on initial sales, while others are sidelined.
Toyin Abraham, known for her work in Nollywood, echoed similar sentiments during an Instagram Live session on December 26, 2025, regarding her film ‘Oversabi Aunty.’
Abraham alleged that cinemas are deliberately sidelining her movie through poor allocations and ticketing issues. “Some cinemas will give you 10 am and 9 pm. A 10 am showtime, how do you expect it to sell?” she asked.
She accused operators of selling tickets for other films but redirecting buyers to her hall, or falsely claiming her screenings are sold out. “They sell another ticket to people and take them to my movie hall,” Abraham stated. “I am not making money. They sell tickets to people and then take them into another movie hall instead of mine.”
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Abraham emphasised the financial impact, noting that despite promotion and production costs, these practices have reduced her earnings.
“Many are afraid to speak up because of bullying,” she claimed. Her complaints align with those of Edo and Akinmolayan, focusing on early morning or late-night slots that limit audience turnout.
These complaints persist as newcomers often find themselves at the cruel end of the spectrum. In a interview with BusinessDay, Kunle Awonusi complained of the same issue when his debut film ‘Koma: Beyond Awakening,’ was released on October 10 2025.
Awonusi said that the cinemas give him screen time of early hours of 10am and late hours of 9pm during the weekdays, which leads to low turnout. He said if the movie doesn’t get to N5 million before a stipulated time, it is shelved out of the cinemas.
Counter to the claims
However, Patrick Lee, former Chairman, Cinema Exhibitors Association of Nigeria, countered the claims. He argued that showtime allocations are driven by demand, noting that it is not in cinemas’ interest to undermine any film.
“Allocations are demand-driven and not in cinemas’ interest to undermine any film,” Lee stated. He suggested that perceptions of favouritism overlook market realities, where high-profile films naturally receive more slots based on projected sales.
