Nollywood

By Sabiu Abdullahi

Veteran Nollywood actor Francis Duru has died at the age of 57 following a brief illness, his family has announced.

The family confirmed his death in a statement posted on the actor’s official Instagram page in the early hours of Friday, thanking fans and well-wishers for their prayers and support.

“We, the family of Francis Duru, regret to announce his passing following a brief illness.

“We appreciate your prayers, love, and understanding. May his soul rest in perfect peace. Amen,” the statement read.

His death comes months after he dismissed reports that he was battling a life-threatening illness. In June, a video showing him looking frail circulated on social media, raising concerns among fans and colleagues.

Duru subsequently shared a video on Instagram in which he described the footage as “fabricated and malicious”.

Born on July 27, 1969, in Cameroon to Nigerian parents from Imo State, Duru completed his primary and secondary education there before moving to Nigeria for university.

He studied Theatre Arts at the University of Port Harcourt, Rivers State, graduating with a Bachelor of Arts degree in 1996.

Duru began his acting career in 1989 in Missing Mark, a film directed by the late Ndubuisi Oko. He gained wider recognition in 1995 after playing Ahanna in Rattlesnake, an action-comedy produced by the late filmmaker Amaka Igwe.

Over the years, he received several awards and honours for his contributions to the Nigerian film industry. He was also named a United Nations ambassador of peace in recognition of his influence on young people.

In 2020, he won the Best Actor in a Leading Role (Igbo) award at the Best of Nollywood Awards for his performance in Mboputa.

Duru married his wife, Adokiye, in 2003, and they had four children together. The family suffered the loss of one of their children, Ifeanyi, in August 2024.

His death marks the loss of a veteran performer whose career spanned decades in Nigeria’s film industry.

By Ugochukwu Ugwuanyi

Full disclosure: I had the song “Strong Ting” by Banky W on auto-repeat in my music playlist while in the world. Be that as it may, that’s by the way!

“…But David encouraged himself in the Lord his God.”

Nigerian singer and filmmaker Bankole Wellington, better known as Banky W, relived this aspect of 1 Samuel 30:6 after losing his bid for the Eti-Osa Federal Constituency seat in the House of Representatives during the 2023 general election. Finding courage in the Lord like David did when distraught and threatened, Banky found clarity amidst the maze and melancholy.

We will get to this momentarily, but not before ridding the elephant in the room. That would be the streets and cynics taunting: “Who send am go run for election?” or something like, “Couldn’t he have seen that the odds were stacked against him?” If his instincts couldn’t, how about his spiritual discernment as a man of God? The comment section also has others asking why he’s giving up so easily by not trying “his luck again” or worming his way into the good graces of the prevailing political establishment.

Politicians, particularly of the Nigerian stock, are Pollyannaish in nature. In fact, it seems a major qualification to be a politician in Nigeria is an overbloated sense of one’s worth or extreme optimism. They hardly give up on their ambitions. Banky W not being on the ballot in this round of elections affirms his epiphany or Road to Damascus experience.

In a post on his Instagram page this Thursday, @bankywellington wrote, “In 2023 I lost an election. And while the experience inspired me in many ways, it also broke my heart into a million little pieces. When the dust settled, I took those pieces back to God. And I surrendered.” We commend him for turning to God like David did when he seemingly lost it all. How great is the Lord to have successfully mended a heart shattered into a million fragments! This is why, upon life’s billows, people should run to, not away from Him. Perhaps those jostling for political positions in Nigeria’s 2027 election will, by Banky’s testimony, learn how to snatch victory from the jaws of defeat when the chips are down.

It is in the character of many to pick a quarrel with God when things don’t work out as planned. Such persons should heed the admonition of the tried and triumphant Job by acquainting themselves with God, and be at peace: so that good can come unto them (Job 22:21). If only the aggrieved had a sense of the big picture, they would see that the good Lord has not called the seed of Jacob to seek Him in vain. Even when you have acted in spite, or volitionally, the loving Father’s penchant for turning a mess into a message makes Him to bestow on you “a crown of beauty instead of ashes, the oil of joy instead of mourning, and a garment of praise instead of a spirit of despair” (Isaiah 61:3).

Banky W is definitely better off currently than he would have been holding a political office. That’s probably why he is out of the 2027 polls. This isn’t about him working as a teacher and leader at Union College in the United States, but about what his koinonia with the Holy Spirit can bring. We congratulate the music label boss, who significantly propelled the career of Grammy-grabbing Wizkid as the EME honcho, for being able to expressly hear from the Lord and align with the Almighty’s will for his life. Hear him again: “One year later, I’m reminded that sometimes what feels like the end of your story is really just God turning the page. The election didn’t go the way I hoped. But God’s plans for my life are bigger than the plans I had for myself.”

We can now see that all things work for the good of those who love him, who have been called according to his purpose. If not for his loss at the polls, Banky wouldn’t have come to a better and beneficial understanding of God. This brings us back to whether he didn’t get Heaven’s green light before initially throwing his hat in the ring. That could also have been God’s means of helping the prodigiously talented celebrity actualise destiny. Notice that while acknowledging God’s expansion of his assignments, he didn’t list politics. As it were, not even the “P” in his P.Banks moniker was cited as representing “politician.” “I used to joke that the ‘P’ in P.Banks stood for Professor, not Pastor. I guess God heard and said, ‘Why not both?’” he wrote. It pays greatly to know and follow the divine will for one’s life.

The consciousness of God in your corner would never allow you to turn the curveball life throws at you into an own goal. But this requires subjecting your will to His on every matter. That word “surrendered,” as used by the former secular singer, is basically what is needed. So many people have missed it in life and destiny because they couldn’t yield. We advisedly used “couldn’t” since some people are eager to be led but don’t know how. Come to think of it, how can someone not desire being led by the Lord? The fact that politicians are no longer making a singsong of “follow who know road” in this electioneering season doesn’t mean that the street wisdom is no longer valid. How much more the privilege of having to follow the Road (no pun intended – John 14:6).

King David absolutely knew what he was talking about when he declared in Psalm 23, “The LORD is my shepherd; I shall not want.” The ensuing verses list other amazing benefits. God rewards those who diligently seek Him. Graciously, He is not hard to find. Verses in the Old and New Testaments affirm this much. Jeremiah 29:13: “You will seek me and find me when you seek me with all your heart.” Matthew 7:7: “Ask and it will be given to you; seek, and you will find; knock and the door will be opened to you.” In reality, He is the one actually doing the seeking. This is why He said in Revelation 3:20, “Behold, I stand at the door, and knock: if any man hear my voice, and open the door, I will come in to him, and will sup with him, and he with me.”

Nonetheless, without bothering ourselves with the semantic symmetry between seeking and following God, the Good News is that both spiritual endeavours are enabled by the same manual – the Bible. You seek and know God by studying and meditating on His Word. For sure, there are Sons who can hear God directly and clearly; they all started from somewhere – a hunger for the Word of God. You’ve got to begin from the known to the unknown. In the main, be sure not to dissent as you discern!

VIS Ugochukwu is a sage, storyteller, and branding specialist who welcomes feedback at nmiringwu@gmail.com.

By Prince Daniel Aboki

Every Nigerian has the constitutional right to support any political party or candidate of their choice. That right is guaranteed by the Constitution and should always be respected.

However, an industry cannot thrive when, every election cycle, a few individuals position themselves as speaking on behalf of everyone, mobilising groups to endorse politicians and, in the process, reducing the industry’s engagement with government to the pursuit of personal benefits.

When this becomes the dominant culture, the industry risks not being taken seriously. Government and development partners are beginning to see the industry not as a strategic economic sector but as a collection of individuals seeking patronage every four years. More often than not, the distribution of cash gifts, vehicles, and other favours also creates avoidable divisions within the industry, as practitioners become aligned with competing political interests. Instead of fostering unity around the collective growth of Kannywood, election seasons too often leave the industry fragmented long after the campaigns have ended.

Politicians understand the influence that Kannywood celebrities command, particularly in Kano and across Northern Nigeria. They know these personalities can shape public opinion, mobilise supporters, and amplify campaign messages during elections. That influence is valuable, but it should be used as a bargaining tool to secure lasting benefits for the entire industry—not for personal aggrandisement. Our collective influence should translate into meaningful negotiations for better policies, sustainable funding, stronger institutions, improved infrastructure, and greater opportunities for everyone in Kannywood, rather than short-term personal gains for a few individuals.

Kannywood is far bigger than election campaigns. It is one of Northern Nigeria’s greatest cultural and economic assets. It has the capacity to create thousands of jobs, preserve and promote our culture, strengthen social values, attract tourism, earn foreign exchange, stimulate investment, and project Northern Nigeria to the world.

What makes this even more compelling is that Kannywood has already demonstrated its commercial strength. Some of its producers operate some of the biggest and most successful YouTube channels in Nigeria, attracting millions of views and building significant audiences worldwide. That success should not remain the achievement of a few individuals. It should be consolidated into an industry-wide strategy that creates opportunities for younger filmmakers, actors, writers, directors, editors, cinematographers, musicians, and other creative professionals.

This is the conversation we should be having with those in office and those seeking public office.

Rather than seeking cash gifts, vehicles, or personal favours, we should be demanding policies that strengthen the entire industry: film villages, production funds, affordable financing, stronger copyright protection, modern cinema infrastructure, professional training, international partnerships, tax incentives, and support for participation in global film markets and festivals. That is how enduring creative industries are built.

Over the years, Nollywood has increasingly engaged government and development partners on issues that strengthen the industry’s ecosystem. The conversation has largely centred on policy, investment, institutional support, skills development, financing, and international collaboration. Individual practitioners may support political candidates—as they are entitled to—but the industry’s long-term development has remained a central focus.

This does not mean Nollywood is a perfect congregation. There have also been individuals within Nollywood who have pursued personal interests above the collective interest of the industry. However, when the two industries are compared, Nollywood has, on balance, positioned itself more effectively as a strategic partner in industry development, policy engagement, and institutional growth. Kannywood can do the same.

We must stop approaching politicians with a cap in hand every election season. An industry with this much talent, influence, and economic potential should not present itself as a sector waiting for handouts. It should present itself as a partner in development—one capable of creating jobs, generating revenue, attracting investment, promoting tourism, preserving culture, and contributing meaningfully to the economy of Northern Nigeria.

Politicians will respect Kannywood when Kannywood first respects its own value. This is not a criticism of anyone’s constitutional right to participate in politics or support a candidate. Rather, it is a call for Kannywood to recognise its collective economic power and organise itself as an industry worthy of sustained investment, strategic partnerships, and long-term development.

The question should no longer be, “Who is giving us what?” The question should be, “What policies, investments, and partnerships will transform Kannywood into one of Africa’s most competitive creative industries?”

The future of Kannywood will not be determined by what a handful of individuals receive during an election season. It will be determined by what the entire industry builds together for generations to come.

The choice before us is simple: we can continue chasing political patronage every four years, or we can build an industry that creates wealth, creates jobs, attracts investment, shapes culture, and becomes impossible for governments and the rest of the world to ignore.

Prince Daniel is “A Concerned Citizen” and a filmmaker. He can be reached via blackvillemedia@gmail.com.

By Abdurrazak Mukhtar

The late John Okafor, popularly known as Mr Ibu, spent decades making Nigeria laugh. He gave his best years to Nollywood, entertaining millions across Africa with his unique comic genius and irreplaceable screen presence. He was more than an actor. He was a cultural institution. Yet today, the story surrounding his estate and his family’s welfare is anything but funny. It is a tragedy of greed, betrayal, and inexcusable injustice.

Mr Ibu rose from humble beginnings to become one of the most recognisable faces in Nigerian cinema. His comedy was not merely entertainment. It was a mirror held up to society, reflecting the struggles and absurdities of everyday Nigerian life with warmth and wit. When he fell ill, Nigerians did not hesitate. From all walks of life, fans, colleagues, and well-wishers contributed generously to his medical bills, demonstrating the depth of love this nation had for him. That outpouring of support was a testament to the kind of man he was and the joy he had brought to so many homes.

Reports indicate that Mr Ibu left behind significant assets, including properties in Lagos, Enugu, and Asaba, several cars, and substantial funds. Beyond his personal estate, generous Nigerians donated large sums during his illness to cover his medical treatment. Additional funds were raised at the time of his burial. By all reasonable accounts, there was more than enough to ensure that his widow and young children would be protected and provided for in the years ahead. But that is not what happened.

His son, Somotochukwu, came forward with a deeply troubling allegation. He claimed that his stepmother, Stella, sold a Lagos property for ₦60 million, an Enugu property for approximately ₦17 million, and another in Asaba for ₦11 million, yet he received only ₦40,000, presented not as his rightful share of his father’s estate, but as a personal gift. Furthermore, family members accused one another of embezzling the very donations that kind-hearted Nigerians had sacrificed to give during Mr Ibu’s illness.

The consequences of this alleged mismanagement are not abstract. They are visible and heartbreaking. Mr Ibu’s widow is reportedly fetching water from a well because she cannot afford her rent. Three young children, aged 10, 12, and 14, have been forced to drop out of school. The family’s electricity was disconnected for months, leaving them to depend on neighbours to charge their phones. These are the children of a Nollywood legend, reduced to conditions that no Nigerian child should endure.

This is not a private family matter to be quietly swept aside. It is a public failure with public consequences. The funds donated by ordinary Nigerians for Mr Ibu’s treatment were not gifts to any individual. They were acts of collective love for a man who belonged to the nation. Those who received and managed those funds bear a moral and legal responsibility to account for every naira. Silence in the face of such allegations is not neutrality. It is complicity.

The Actors Guild of Nigeria, Nollywood stakeholders, and relevant authorities must not look away. If funds donated publicly were misappropriated, the law provides remedies, and those remedies must be pursued. Transparency is not optional in matters such as these.

To the family of Mr Ibu, this moment calls for maturity, unity, and honesty. Whatever grievances exist between the widow and the children from other relationships, they must not be settled at the expense of the innocent. Those children did not choose the circumstances of their birth. They did not create the disputes dividing this family. They deserve access to education, shelter, and a dignified life, not as charity, but as their rightful inheritance from a father who worked hard all his life.

It is strongly advised that all parties submit to a transparent, legally supervised process for the distribution of Mr Ibu’s estate. A lawyer or court-appointed administrator should be engaged immediately to protect the interests of all dependents, especially the minor children. Settling this matter in the media through emotional appeals and counter-accusations serves no one, least of all the children.

The story of Mr Ibu’s family is not an isolated one. Too many Nigerian entertainers have died, leaving their families in poverty, not because they did not earn, but because there were no structures in place to protect what they built. The entertainment industry must begin to take the welfare of its members seriously, not only in death but in life. Wills, estate planning, life insurance, and welfare funds are not luxuries. They are necessities that every serious professional body must promote and facilitate.

The Actors Guild of Nigeria and similar bodies should establish a dedicated welfare framework that provides legal and financial guidance to members, ensuring that what happened to Mr Ibu’s family does not become a pattern.

Mr Ibu gave Nigeria laughter when it needed it most. He gave the film industry his talent, his energy, and ultimately his health. In return, the very least Nigeria owed him was the assurance that his children would be cared for and that his legacy would be honoured with integrity.

It is not too late to make it right. Mr Ibu’s children are still young. They still have futures ahead of them. Whoever holds the keys to their father’s estate must open that door with justice, fairness, and the fear of God. Because a man who made millions smile deserves far better than to be remembered as a cautionary tale about family greed.

He deserved better. His children deserve better. And Nigeria must do better.

By Anas Abbas

The Nigerian entertainment industry has been thrown into mourning following the death of renowned actor, dramatist, and academic, Kola Oyewo.

Oyewo, a respected figure in Yoruba theatre and Nollywood, built a career that spanned more than six decades, earning recognition for his contributions to stage productions, film, and arts education. He was widely celebrated for his portrayal of Odewale in Ola Rotimi’s classic play The Gods Are Not to Blame, a role that cemented his place among Nigeria’s most accomplished performers.

Born in Oba-Ile, Osun State, the veteran actor began his professional acting journey in 1964 with the Oyin Adejobi Theatre Group before later working with the University of Ife theatre troupe. Throughout his career, he featured in several notable productions, including Sango, Saworoide, Koseegbe, and Super Story.

Beyond acting, Oyewo distinguished himself as a scholar. He obtained advanced degrees in drama and lectured at several higher institutions, including Obafemi Awolowo University, where he rose through the academic ranks before retirement.

He also served in teaching and leadership roles at other universities, mentoring generations of theatre practitioners and students.

Only months ago, the celebrated thespian marked his 80th birthday and received tributes from prominent Nigerians, including President Bola Tinubu, who described him as a cultural ambassador and a national treasure for his immense contributions to Nigerian storytelling and the preservation of Yoruba cultural heritage.

Tributes have continued to pour in from colleagues, fans, and cultural stakeholders who remember him as a gifted performer, teacher, and custodian of Nigerian theatre traditions.

Details surrounding his death and funeral arrangements were yet to be fully disclosed at the time of filing this report.

By Hadiza Abdulkadir

The Nigerian entertainment industry is in deep mourning following the news that beloved Nollywood actor and model, Alexx Ekubo, has passed away at the age of 40.

Reports emerged late Tuesday, May 12, indicating that the star died at a private medical facility in Lagos. While his family has yet to release an official statement regarding the cause of death, sources close to the actor suggest he had been quietly battling a long-term illness.

Ekubo’s passing comes after a prolonged and mysterious absence from the spotlight. Once a fixture of the Lagos social scene and a prolific presence on social media, the actor had not been seen publicly or posted online since late 2024, leading to months of mounting concern from his global fanbase.

Rising to fame as the first runner-up in the 2010 Mr. Nigeria contest, Ekubo transitioned into a powerhouse acting career. Known for his wit and charm, he became a household name through blockbuster hits like Weekend Getaway, Lagos Cougars, and Sugar Rush. Over his decade-long career, he earned numerous accolades, including the Best Supporting Actor trophy at the 2013 Best of Nollywood Awards.

Beyond the screen, Ekubo was a trained lawyer and a traditional chief, holding the title of Ikuku of Amumara Town.

Tributes have already begun pouring in from colleagues and fans, who remember him not just as a talented performer, but as a vibrant “breath of fresh air” in the African film industry.

Taqdeer (Divine Decree), a 2025 Nigerian Islamic film directed by Ruben Reng, is a captivating tale of love, fate, and cultural heritage. Starring Ibrahim, Sakina, Mustapha, and Zainab as leading characters, this film weaves a narrative that explores the intricacies of human relationships against the backdrop of Nigerian and Hausa traditions.

The film’s plot revolves around themes of destiny, faith, and choices, unfolding a story that keeps viewers engaged. The narrative delves into the lives of its characters, exploring their struggles and triumphs in a way that resonates deeply. 

Watching Taqdeer is a visually immersive experience. The cinematography captures the vibrant essence of Abuja, blending traditional and modern elements harmoniously. The film’s use of Hausa language and Islamic cultural references adds authenticity, making the story feel both personal and universal. The performances by the cast are compelling, bringing depth to their characters.

Taqdeer’s formal techniques, such as its cinematography and sound design, effectively enhance the narrative’s emotional impact. The film’s portrayal of Islamic moral themes and traditions provides a rich context for the story, making it relatable and thought-provoking. The blend of music and story-based sound adds to the film’s atmosphere, drawing viewers into the world it creates.

Analytically, while Taqdeer is strong in many areas, certain scenes linger longer than necessary, which can detract from the story’s overall momentum. Nevertheless, these moments are outweighed by the film’s strength, particularly its moral richness.

In conclusion, Taqdeer is worth watching for its engaging narrative, moral richness, and strong performances. It offers a glimpse into Nigerian Muslim culture and explores universal themes of love and fate, making it a compelling watch for audiences interested in diverse storytelling.  

Reviewed by

Rexford Asamoah Adu

radu@smail.uni-koeln.de

By Muhsin Ibrahim

Talk about Kannywood and, often, some people who are scarcely literate or have little knowledge of film will dismiss the entire industry as a sanctuary for good-for-nothing folks. But that is not always true.

I first met the late Malam Umar Maikudi (also known as Cashman) at the 2019 Kano Indigenous Languages of Africa Film Market and Festival (KILAF) conference. We connected immediately, discussed various issues, and ultimately exchanged phone numbers.

Although Malam was old enough to be my father, we maintained a relatively cordial relationship. He would send me some of his writings, and I would send him mine in return. We also met a few more times during subsequent editions of the KILAF conference. I am sure Alhaji Abdulkarim, the CEO of Moving Image and the organiser of KILAF, will dearly miss Cashman.

He was among the few brilliant individuals blessed with the talent to blend theory and practice seamlessly, and he excelled in both. 

Malam was a lecturer at Nuhu Bamalli Polytechnic, Zaria, and President of the Motion Picture Practitioners Association of Nigeria (MOPPAN). 

Malam was a bridge between Kannywood and Nollywood, as he featured in films from both industries. Many Kannywood viewers may not be very familiar with him, though.

Cashman only recently started featuring in more mainstream Kannywood productions, such as Gidan Badamasi and Labarina. As a lawyer in the latter (Labarina), who is expected to code-switch and code-mix, you can tell this actor is definitely educated. He was.

His death is a significant loss to his family, of course, and to the Nigerian entertainment industry. May Allah forgive his shortcomings and grant his loved ones the fortitude to bear the loss, amin.

Muhsin Ibrahim, PhD, is an academic and writes about Nigerian films. He can be contacted via muhsin2008@gmail.com.

By Haroon Aremu

Like a sly jester winking at the moon, I was scrolling through social media when I encountered celebrity interviews recounting how they rake in millions within months. This spectacle ignited a contagious fervour among the youth, convincing them that the entertainment industry is the sole avenue to instant riches. 

No one talks about the failures, the countless auditions, or the silent struggles behind the scenes; they only talk about the glamour, the wealth, and the “soft life.”  

Bollywood thrives on strategic government investment, making it a global economic force that boosts employment, tourism, and digital expansion. Unlike Nigeria’s self-funded entertainment sector, India injects billions into its film industry, ensuring sustained growth and international reach.  

Beyond captivating audiences, it turns filming locations into major tourist attractions, employs millions across various roles, and operates as a well-structured economic engine that drives cultural and financial influence.

Bollywood wields significant soft power, shaping international perceptions, fostering trade partnerships, and influencing policy discussions on a global scale. Now, the burning question is If India has done it, why can’t Nigeria?

President Bola Ahmed Tinubu and the Nigerian leadership stand on a promising foundation. Nollywood is already the second-largest film industry globally, built almost entirely on private effort. With champions like Kunle Afolayan, Femi Adebayo, Funke Akindele, Toyin Abraham and others reshaping narratives and cashing in on global platforms like Netflix, Prime Video and Box Office. 

It is clear that Nollywood is not just an entertainment industry—it is an untapped goldmine. The cinematic feats of Kemi Adetiba, Mo Abudu, Bolanle Austen-Peters, etc., prove that, with proper government investment, Nollywood could evolve from a privately managed giant into a fully empowered national asset.  

According to research, Nollywood generates over $590 million annually and produces around 2,500 films a year. It has managed to thrive despite a lack of properly structured federal support. 

Imagine if this industry received the same kind of backing Bollywood enjoys. Free from corruption, federal investment could elevate production quality, generate millions of jobs, and turn Nollywood into Nigeria’s foremost non-oil revenue, especially when youth yearn for employment due to unemployment being generic.

Content creation, beyond Nollywood, has emerged as a formidable economic engine in Nigeria, proving that digital storytelling is not just a fleeting trend but a viable sector capable of generating wealth, employment, and global recognition. 

The success of creators like Mr. Macaroni, Taooma, Kiekie, Sabinus, Lasisi Elenu, Cute Abiola, etc., illustrates how social media has democratised entertainment, allowing individuals to carve niches without relying on traditional gatekeepers like film studios or record labels. 

Through comedy skits, social commentary, and brand endorsements, these creators have transformed their craft into multi-million naira enterprises, employing scriptwriters, videographers, editors, and marketers while driving traffic to brands and tourism sites. 

Their work showcases Nigeria’s culture and humour on the global stage, attracting foreign partnerships and sponsorships that would have otherwise been reserved for mainstream Nollywood productions. 

When properly harnessed, digital content creation can become a major economic driver, like Bollywood’s integration of influencers and digital expansion into film, tourism, and commerce. With the right policies—such as tax breaks, structured funding, and intellectual property protection—Nigeria’s content industry could grow into a leading non-oil revenue stream, competing with global giants like India and the United States. 

Despite its promise, the content creation industry in Nigeria still grapples with fundamental challenges that could hinder its full potential. Unlike Bollywood, which benefits from government-backed investment and structured growth strategies, Nigerian content creators operate in a largely informal economy, where access to funding, infrastructure, and legal protections remains inadequate.

Some creators lack financial literacy, face inconsistent brand deals, and operate without a regulatory framework that protects their intellectual property. 

Additionally, the absence of dedicated digital innovation hubs limits their ability to scale, collaborate, or transition from short-form content to full-length productions capable of breaking into mainstream cinema as some have done. 

While some content creators have managed to bridge the gap between skit-making and brand influence, an untapped market for leveraging content creation into mainstream entertainment and tourism remains. 

The government and private investors need to recognise digital storytelling as more than just “youthful amusement” but as a serious industry that, when properly structured, could create thousands of jobs, foster digital entrepreneurship, and export Nigerian creativity worldwide. 

Suppose Nigeria is to harness the creative economy truly. In that case, it must institutionalise financial incentives, support digital film villages, and encourage content creators to transition into high-value productions that can contribute to global streaming platforms, film festivals, and international collaborations.

Only then can the country move beyond isolated success stories to a full-fledged, structured entertainment ecosystem that mirrors Bollywood’s impact on India’s economy.

States like Lagos, Kwara and others have already positioned themselves as film hubs, investing in production studios, enabling policies, and film villages to attract investors. If these state-led initiatives can yield results, what would happen if Nigeria had a full-scale federal-backed Nollywood revolution? 

With well-structured grants, tax breaks, and infrastructure development, Nollywood could rival Hollywood and Bollywood, expanding tech-based employment and transforming Nigeria into Africa’s entertainment capital.  

Yet, a crucial caution must be heeded. Nollywood, like every thriving industry, has its fair share of pitfalls. The rise of viral sensations over genuine talent, the exploitation of controversies for social media relevance, and the blurred line between creativity and chaos all pose risks to the industry’s long-term sustainability. 

Nigeria must ensure that Nollywood does not fall victim to the same cycle of corruption that crippled agriculture and the oil sector.  

The truth remains: talent differs from cruise, and entertainment is bigger than scandal-driven fame. Nollywood has the potential to be a global force, a national pride, and an economic goldmine. 

The question is: Will Nigeria seize this opportunity or let Negligence and corruption again destroy another billion-dollar industry?

Haroon Aremu Abiodun, an author and PRNigeria fellow, wrote via exponentumera@gmail.com.

By Hadiza Abdulkadir

Nigerian scholar Professor Abdalla Uba Adamu has officially announced the publication of his new book, Hausa Cinema of Northern Nigeria: Cultural Imperialism and Censorship, a landmark work that explores the development, politics, and aesthetics of Hausa-language film across West Africa.

Published by Bloomsbury, the book is the product of over twenty years of research spanning multiple countries and academic disciplines. Rather than focusing solely on the popular commercial industry known as “Kannywood,” Adamu takes a broader approach, examining Hausa cinema in its many forms—including diaspora productions, documentaries, art films, and digital series.

“This is not just about Kannywood,” Adamu explained. “It’s about Hausa cultural expression wherever it exists, rooted in Islamicate values and media flows across the Global South.”

Completed in 2010, the manuscript faced delays and was almost shelved. However, a 2023 conference presentation and a meal hosted by Dr. Muhsin Ibrahim, where Adamu jokingly called the large waina “one terabyte,” in Cologne, Germany, reignited interest, leading to its acceptance and revision. 

The final version, praised by scholars such as Graham Furniss and Brian Larkin, will be released in July 2025.

Though priced at $130, Adamu plans to publish a locally accessible companion book titled Kannywood: A Brief Introduction later this year in Kano. It will be tailored for readers interested in a concise, less theoretical overview.

With this announcement, Hausa cinema gains its most comprehensive and scholarly treatment, firmly placing it in the global conversation about media and culture.