Several Nollywood filmmakers, including Toyin Abraham, Ini Edo and Niyi Akinmolayan, have accused Nigerian cinema operators of unfair practices they say undermined their films during the highly competitive December 2025 cinema window.
The complaints, made separately between December 24 and 27, 2025, centre on allegations of restricted screen time, poor scheduling, misleading ticket sales and what the producers describe as “gatekeeping” by cinema operators during the peak holiday season.
Ini Edo, a first-time producer, shared her experience in a public post on social media, describing the cinema process as exhausting despite what she said were heavy financial and personal investments in her film.
“Nigerian cinemas, this has been exhausting. As a first-timer, I learned on the go with humility and commitment, yet faced intentional frustration despite the sacrifice and investment poured into this project,” she wrote.
“But God is bigger than every barrier, bigger than gatekeeping and intimidation,” she added.
Edo also reposted videos from cinema-goers who complained of misconduct, including abrupt changes to screening arrangements and confusion over showtimes.
Toyin Abraham, speaking during a live Instagram session and through follow-up posts, accused some cinemas of deliberately limiting the visibility of her December release. She alleged that her film was allocated unfavourable screening hours and, in some cases, cinema staff reportedly told customers tickets were sold out when seats were still available.
Niyi Akinmolayan also raised concerns about how his film was handled in cinemas, alleging that some venues advertised screenings, sold tickets, but failed to show the film as scheduled. He warned that he might publicly identify specific cinemas if the issues were not addressed.
December is traditionally the busiest and most competitive season for Nigerian cinemas. Multiple high-budget Nollywood and Hollywood films are often released simultaneously to capture increased holiday traffic.
Industry players say this competition makes screen allocation critical, as limited screens must be shared among several titles. Producers argue that reduced showtimes or placement in low-traffic hours can significantly affect a film’s earnings within its short theatrical window.
As of the time of reporting, Funke Akindele whose record-breaking film, Behind the Scenes had not issued a statement on these concerns.
Despite the controversies, some films recorded strong performances. Behind the Scenes emerged as one of the most talked-about releases of the season, grossing over 512 million naira.
Other December releases, including Oversabi Aunty, A Very Dirty Christmas faced mixed outcomes, with producers arguing that restricted access to prime screening slots affected their box office potential. Comprehensive box office figures for all titles were still being compiled at the time of reporting.
How Nigerian Cinemas Make Their Money
Cinema operators in Nigeria operate a layered revenue model involving several stakeholders.
Their main income streams include:
-
Ticket sales, which form the largest share of revenue
-
Concessions, such as food and beverages sold at premium prices
-
Advertising, shown on cinema screens before films and during breaks
From ticket sales, about 10 per cent of gross revenue is deducted for taxes, split between Value Added Tax (VAT) and state entertainment taxes.
The remaining revenue is shared between cinemas and distributors under a sliding scale:
-
Week one: 50 per cent each
-
Week two: 55 per cent for cinemas, 45 per cent for distributors
-
Week three and beyond: 60 per cent for cinemas, 40 per cent for distributors
From the distributor’s share, further deductions are made for distribution fees (typically 10–15 per cent) and withholding tax (about 10 per cent). After these deductions, producers often receive roughly 30 to 40 per cent of the total box office gross.
