A recent exchange between filmmaker Kunle Afolayan and actress-producer Funke Akindele has stirred conversation within the Nigerian film industry about the realities of cinema promotion and box office expectations.
Speaking at the Lagos Business of Film Summit, Afolayan explained why he has stepped back from releasing films in cinemas. He described the promotional process surrounding theatrical releases as physically demanding and questioned the financial rewards attached to it. According to him, cinema operators often take between 40 and 50 percent of box office earnings, leaving filmmakers with limited profit after production and marketing costs.
Afolayan also noted that he is no longer interested in competing in box office races, choosing instead to focus on alternative distribution models and creative independence.
Funke Akindele later responded to the conversation via Instagram, encouraging Afolayan to confidently pursue his chosen path without comparison. She suggested that filmmakers who find promotional tours overwhelming could consider building teams to handle such responsibilities, rather than stepping away from cinema entirely.
Akindele’s comments came shortly after the success of her film A Tribe Called Judah, which recently crossed the ₦1 billion mark at the Nigerian box office, making it one of the highest-grossing Nigerian films to date.
The exchange quickly drew reactions online, with fans and industry observers offering mixed interpretations. While some viewed Akindele’s remarks as subtly critical, others saw them as a practical perspective shaped by her experience managing large-scale film promotions.
The discussion has since reignited broader conversations about the sustainability of cinema promotion in Nollywood, the financial structure of theatrical releases, and whether the current system fairly serves filmmakers with different resources and working styles.
