A simmering dispute between Nollywood filmmakers and cinema operators has erupted into the open, as top industry figures accuse some cinemas of quietly sabotaging major December film releases through what they describe as deceptive and unfair screening practices.
Film producer and director Niyi Akinmolayan ignited the latest wave of backlash after publicly calling out cinemas he claims are undermining the theatrical run of his new movie, Colours of Fire. In a strongly worded Instagram post on Friday, Akinmolayan alleged that certain cinemas were advertising his film, selling tickets to eager moviegoers, and then failing to screen it.
According to him, the practice amounts to deliberate deception of both filmmakers and audiences.
“If by the end of today this is not fixed, I will name every cinema that has Colours of Fire on its website, collected money from customers, and then refused to show the film,” he warned.
The producer said he had already identified at least three cinemas involved and issued an ultimatum, threatening to publish the names of the cinemas and their managers if the situation was not addressed.
His claims quickly resonated across Nollywood, with other high-profile filmmakers sharing similar experiences.
Actress and producer Toyin Abraham, during an emotional Instagram Live session, lamented that her film Oversabi Aunty was being sidelined in some cinema halls. She alleged that audiences who bought tickets for her movie were sometimes redirected to other films.
“I’m not making money. They sell tickets and then take people into another movie hall,” she said, adding that several affected patrons were reluctant to speak out due to fear of intimidation.
Filmmaker and actress Ini Edo, a first-time producer, also joined the growing chorus. She shared video clips of moviegoers complaining about what they described as questionable conduct by cinema staff. On X, she described the experience as emotionally draining and deeply frustrating.
“As a first-time producer, I learned on the go with humility and commitment, but still faced intentional frustration despite the sacrifice and investment poured into this project,” she wrote.
The allegations have reopened a long-standing debate about power dynamics within Nigeria’s cinema ecosystem, particularly during the highly competitive December release window, when multiple big-budget films compete for limited screen time.
This is not the first time Nollywood figures have raised concerns about cinema practices. Last year, an actress alleged that some cinemas actively discouraged viewers from watching her film Thin Line. Another actor previously claimed that cinema staff sometimes openly promoted select films by wearing branded merchandise, raising questions about neutrality and fairness.
Reality TV star, Pere of Big Brother Naija, also recounted losing over ₦150 million, blaming what he described as favouritism and opaque practices within cinema halls.
Cinema operators, however, have consistently denied accusations of sabotage. Industry representatives have argued that cinemas operate on commercial logic, prioritising films that attract higher audience turnout to maximise revenue. From their perspective, deliberately undermining any film would be financially counterproductive.
Despite these rebuttals, the growing number of public complaints from filmmakers suggests deeper structural tensions between content creators and exhibitors—tensions that many industry watchers say need urgent dialogue, clearer regulation and transparent screening standards.
As the holiday box office race intensifies, the unfolding dispute has once again cast a spotlight on who truly controls the fate of Nollywood films once they reach the cinema screen—and whether the system is fair to those who create them.