Nollywood actress and producer Bolaji Ogunmola has responded to criticism over a kissing scene between her and actor Daniel Etim-Effiong in her newly released YouTube film, The Bloom After, which premiered on February 6, 2026.
The reaction began on Tuesday, February 9, after a user on X, identified by the handle “I hate lies,” questioned the on-screen intimacy between the two actors.
“The kissing scenes with Daniel are too much; it’s looking like you guys are an item,” the user wrote.
“Why didn’t you kiss the first guy, Anthony, in the movie? Remember that was how Yul and Judy started. Feelings can develop. You guys should tone it down.”
Ogunmola replied sharply to the post which was later deleted, rejecting the suggestion of any relationship outside work and criticising what she described as misplaced assumptions.
“You are an absolute retard!! You watched to tweet stupidity, and it shows. What is the entire film about, you nitwit!! You want to reduce my entire work to kissing?” she wrote.
She also denied any personal relationship with Etim-Effiong.
“What foolish item? We don’t even talk outside of work! You think because you lack boundaries and have no respect for yourself, everyone acts and carries themselves like that, you absolute fool.”
The actress urged viewers to focus on the film’s central message rather than a single scene.
“The Bloom After isn’t just another romance film. It’s about a woman finding herself after giving everything to a cause she believed in… Please share the film with them and remind them they are worthy,” she added.
Ogunmola also indicated that the volume of online reactions had affected her and that she may reduce her presence on social media.
“It’s like I’ll get a social media manager and just stop using these apps. So I can focus on what really matters.., The work!!! All these opinions and comments… we are human beings as well,” she wrote.
This is not the first time the pair’s on-screen roles have generated debate. In November 2025, a promotional clip from the film Summer Rain featuring a kiss between Ogunmola and Etim-Effiong went viral and drew mixed reactions.
At the time, Ogunmola defended the scene, saying it was necessary for storytelling.
“Sigh. Honestly, the whole dragging is okay if people understand and maybe even watch the film. You clearly just want to have an opinion on something you have no knowledge about. As an actor, when a scene carries emotional weight, you must deliver it sincerely. That’s what storytelling is all about,” she said.
She also explained that precautions were taken during production.
“Before shooting the scene, the production team ensured proper preparation and consent. Workshops and rehearsals were done to handle the moment with care and maturity.”
Daniel Etim-Effiong, 37, has previously addressed public reactions to romantic roles. In an interview on Rubbin’ Minds on Channels Television, he said producers often include kissing scenes because they respond to market demand.
“The average Nollywood script says, ‘kiss passionately’ or ‘hug,’ and they do it on purpose because that’s what they’re selling, especially on certain platforms. That’s what the audience wants, it’s demand and supply,” he said.
“But I think a braver way is to explore other forms of intimacy and create new ways to express affection.”
Responding to criticism about the frequency of such roles, he added:
“The fact that I play a lot of romantic roles in the industry today means that I get to have kissing scenes sometimes. People feel it’s become one too many, but the question should go to the producers. Why are they expressing affection and intimacy only a certain way?”
He also said his faith guides his decisions.
“I get all my inspiration from God. I go on my knees and pray before I go to set and kiss.”
Etim-Effiong’s wife, Toyosi Etim-Effiong, addressed similar concerns in March 2025, stating that she was not troubled by his on-screen performances and trusted him.
As of February 10, 2026, Etim-Effiong has not issued a new statement regarding the current controversy surrounding The Bloom After.
