Prime Video’s retreat from serious investment in Nigerian and wider African originals wasn’t sudden to insiders; it was a slow unravelling that went public in January 2024 when Amazon signalled it would stop commissioning local originals across Africa and the Middle East and restructure its regional teams.

Mothers of Chibok forces us to confront a truth we rarely sit with: while the world moved on, these mothers never had that luxury. This documentary does not try to retell the tragedy in the way we expect.

One of the most common ways films generate early momentum is through bulk ticket purchases.

The reasoning behind Netflix’s pullback is rooted in the economics of Nollywood. Film production costs have ballooned over the last five years; a mid-tier Nollywood feature now costs between N50 million and N150 million, with high-end productions sometimes exceeding N200 million.

The relationship between Nigeria’s creative economy and Nollywood is unbalanced, frustrating, and, honestly, exhausting.

Nollywood’s box office may dazzle with a projected N12 billion in 2025, but this masks a brutal reality: the industry is a high-risk gamble where only a few blockbusters thrive.

Mo Abudu’s arrival in Nollywood wasn’t accidental; it was strategic. She came armed with a background in media, a strong corporate network, and an understanding of branding that most filmmakers at the time didn’t possess.

Is Nollywood’s biggest challenge really budget, or is it honesty? This compelling analysis explores how storytelling integrity, creative risk, and transparent evaluation may be the true keys to lasting industry growth.

Makemation is not just another Nollywood coming-of-age story, it is a bold interrogation of brilliance, opportunity, and the uneven terrain

One of the biggest failures of the Censor's Board is its persistent opacity. Filmmakers routinely complain that classification criteria are unclear, inconsistent, and often dependent on who handles a file rather than on a unified standard.

If we’re being honest, this so-called “beef” didn’t begin when Kunle Afolayan spoke about not wanting N2 billion box office numbers.

At its core, Colours of Fire attempts something rare in mainstream Nollywood: a bold reimagining of cultural mythos through a cinematic lang

A small circle of producers and distributors will dominate December and Easter windows, while newer or “unaligned” filmmakers will struggle for visibility regardless of merit.

Nollywood has become one of Africa’s biggest creative exports, commanding international attention, billion-naira box office hits, and multi-million-dollar streaming deals.

Acting and content creation are often grouped together because both involve performance, but they are designed for entirely different ecosys

When Anikulapo first dropped on Netflix in 2022, it didn’t feel like just another Nollywood release, it felt like a moment.

The greatest tragedy in Nollywood today is not bad films, it is the hostility toward feedback. In an industry still fighting for global resp

There is absolutely nothing wrong with reacting to art; in fact, critical engagement is essential to the growth of any creative industry.

In today’s Nollywood ecosystem, YouTube views have become a social currency. A film drops, and the first question is no longer “Is it good?” but “How many views does it have?” This obsession has created a dangerous shortcut culture where some filmmakers buy views to manufacture perception.

One uncomfortable truth Nollywood filmmakers must confront is that the Nigerian cinema ecosystem is not evenly distributed, and this imbalance has serious consequences.