Nollywood Showdown: Showtime Wars and the Billion-Naira Race

The yuletide season has always been one of the most profitable periods for Nollywood, with producers eyeing the elusive billion-naira mark at the box office. Achieving this milestone, however, requires more than just a good film, it demands strategic marketing, collaborations, and savvy promotion.

Showtime Wars and Alleged Monopoly
The 2025 festive cinema season was marked by controversies, as several filmmakers accused cinemas of unfair practices. Nollywood actress Toyin Abraham, in a social media video, alleged that cinemas misrepresented showtimes, withheld tickets, and relegated some films to unfavorable slots, moves that could affect revenue and audience turnout.

First-time producer Eni Edo also voiced frustration, claiming her movie was sidelined, screened in poorly maintained halls, and promoted less than competing films. Fans arriving to watch her work were often directed to other titles instead.

On December 26, acclaimed filmmaker Niyi Akinmolayan raised similar concerns on Instagram, alleging that some cinemas listed his film online, collected payments from patrons, but failed to screen it as scheduled. He warned that he would publicly name cinemas and managers if the issues were not resolved promptly.

While Funke Akindele, another major Nollywood star, did not publicly comment on showtime controversies, her film’s success has been attributed to a strong cast, compelling storytelling, and aggressive marketing strategies.

Is the Billion-Naira Benchmark Still Meaningful?
In an interview with Naija News, actor and producer John Njamah addressed the pressures surrounding box office numbers and the challenges filmmakers face in this competitive environment.

“Over the past few years, the billion-naira success has largely favored one individual, which can dampen the motivation of other filmmakers,” Njamah explained. “The focus should be on creating better films rather than chasing records or competing with a particular person. Box office figures are just one model; true competition should be about quality storytelling.”

He further noted that inflation has increased production, marketing, and ticketing costs, raising questions about what “success” really means. “Hitting over two billion is still a success in numbers, but who benefits from it? What can others learn from that achievement?”

On the showtime disparities, Njamah added, “Running cinemas in Nigeria is a costly business, and allocation often favors titles deemed more commercially viable. The lack of enough cinemas for the population compounds the problem. The practical solution lies in better distribution and scheduling, not just December competition.”

He concluded by emphasizing the importance of quality filmmaking over mere box office performance: “Marketing and distribution are part of filmmaking, yes, but if your film isn’t well-made, it won’t sell. We need to refocus on the craft itself.”

As Nollywood continues to grow, the billion-naira race remains a milestone many aspire to, but industry experts argue that innovation, storytelling, and fair distribution may ultimately define lasting success.