One of the biggest misconceptions in Nollywood is that royalties are some kind of bonus, a lucky outcome when a film performs well. That idea is fundamentally flawed. In structured industries, royalties (or residuals) are not rewards, they are pre-designed financial outcomes built into contracts, enforced by institutions, and backed by law.

Nollywood’s biggest lie is that it is underfunded. It isn’t. The money exists, t just doesn’t reach all films. Every year, we hear big announcements: multimillion-dollar intervention funds, international partnerships, development grants.

Lagos is, without question, one of the most cinematic cities on the continent. Its chaos, ambition, beauty, and contradictions naturally lend themselves to compelling drama.

Thirteen years after Arinzo (2013), The Return of Arinzo arrives with the weight of nostalgia and the promise of a deeper, more evolved story. Directed and produced by Iyabo Ojo, the film attempts to resurrect a notorious figure and expand her story into a broader narrative of revenge, secrets, and consequence.