By Ifeoma Agu
LAGOS, Nigeria — A public exchange between filmmaker Kunle Afolayan and actress-producer Funke Akindele has sparked debate within Nollywood over the demands of cinema promotion and the financial realities of theatrical releases.
Speaking at the Lagos Business of Film Summit, Afolayan explained why he has stepped back from releasing his films in cinemas, describing the promotional process as physically taxing and financially unrewarding.
“The cinema promotion alone is very exhausting,” Afolayan said. “After all the stress, cinema operators take between 40 and 50 percent of the box office. When you factor in production and marketing costs, there is very little left.”
He added that he is no longer interested in competing in box office races, saying his focus has shifted toward alternative distribution models and greater creative independence.
“I’m done with chasing numbers,” Afolayan said. “I want to explore other ways of telling my stories without the pressure that comes with cinema runs.”
Akindele later weighed in on the discussion via Instagram, urging Afolayan to confidently follow his chosen path without comparison, while suggesting that the burden of promotional tours could be managed differently.
“If promotion feels overwhelming, you can always build a team to handle that aspect,” Akindele wrote. “Everyone should do what works best for them.”
Her comments followed the box office success of her film A Tribe Called Judah, which recently crossed the ₦1 billion mark, making it one of the highest-grossing Nigerian films in history.
The exchange drew swift reactions online, with fans and industry observers offering differing interpretations. Some viewed Akindele’s remarks as subtly critical, while others saw them as a practical perspective shaped by her experience managing large-scale film promotions.
The discussion has since reignited broader conversations within Nollywood about the sustainability of cinema promotion, the revenue-sharing structure of theatrical releases, and whether the current system fairly serves filmmakers with varying resources and working styles.
