Does Nollywood Need The Support of the Nigerian Music Industry?

Stakeholders and critics of Nollywood have always stirred conversations around what needs to be done for the development of the industry. These conversations, driven by passion and a sense of commitment, often project factors such as improved storytelling, remuneration of industry workers and strategic collaborations for global positioning. There is also, among other setbacks, the issue of unprofessionalism which, as British-Nigerian actor John Boyega insinuates, is responsible for the stunted growth of Nollywood. A recent X post from Nollywood actor Timini Egbuson adds a new twist to the entire discourse, with the actor registering his disapproval at perceived low support for Nollywood from Nigerian music artists. This show of disappointment draws attention towards two major industries of the Nigerian entertainment scene—music and film—with a special focus on the dynamics of their relationships. It raises concerns about the autonomies of these industries and whether or not they may impact the development of each other through partnerships. As such, we must ask the right questions. Is a symbiotic relationship between these industries really necessary and achievable? If so, how does it positively influence the image of Nollywood locally and internationally? Or is this talk entirely peripheral and mundane amidst biting industry-wide problems?

In recent years, we have witnessed the explosion of Nigerian pop culture. Regarding this, it is important to acknowledge the groundbreaking achievements of Nigerian Afropop stars on the global stage. The likes of Burna Boy, Wizkid, and Tems, for instance, have earned GRAMMY recognition for their outstanding contributions to global music—with Tems recently bagging the  Best African Music Performance award for Love Me Jeje at the 2025 GRAMMYs. Nollywood, in comparison, does not enjoy the same clout as her counterpart. This is understandable when one considers the ease with which music, steeped in rhythm, regardless of linguistic and thematic limitations, appeals to universal taste. But this is not to say that Nollywood, as a quasi-independent body subsisting within the larger entertainment ecosystem, has not enjoyed international privileges of its own. We can attest to the rise of a mutinous army of filmmakers, often categorized as “indie”, that are committed to pushing boundaries, breaching gatekeeping walls, and voyaging across the seas to international festivals. One of them, C. J. Obasi, having first tested the waters with Ojuju, struck gold with Mami Wata in 2023. Mami Wata became Nigeria’s first indigenously made film to premiere at the Sundance Film Festival where it won the World Cinema Dramatic Special Jury Award for cinematography. Also, our so-called mainstream filmmakers, such as Funke Akindele, have had their films distributed to non-African cinemas, positioning the industry for relevance beyond its domestic enclaves. 

There have been previous collaborative attempts between Nigerian music artists and Nollywood filmmakers. In 2023, Wizkid announced his interest in Nollywood via social media, after which he linked up with Kunle Afolayan for a conversation. While we are not sure about the direction in which their conversation took, we cannot deny that the meeting of these industry giants was a monumental publicity move that cast Nollywood in a positive light. Last year, Tiwa Savage produced and played the lead role in Water and Garri, a film named after her 2021 EP of the same title and starring mainstream actors like Jemima Osunde and Mike Afolarin. The same year, we heard about Burna Boy’s filmmaking debut as an executive producer on 3 Cold Dishes, an anticipated Nollywood project whose narrative spans three African countries. Not to forget, we witnessed the evolution of Ladipoe in film, with the Nigerian artist taking on a prominent role in Jade Osiberu’s Christmas In Lagos. 

Despite commendable successes, Nollywood and the Nigerian music industry are plagued with their respective internal, divisive crises. A common problem is unhealthy competition within each industry. Lately, for instance, we have heard about compromised cinema staff who attempt to influence the film choices of their guests by recommending and promoting certain domestic films over others at the box office. By doing so, actor Femi Branch noted in an Instagram post, these cinema filmmakers are denied a level playing field. Some Nollywood faithful have also lamented the gatekeeping and dismal welfare culture in the industry, which hampers collective growth and smooth relationships and collaboration among filmmakers and actors.

Just like the old saying that charity begins at home, our filmmakers should prioritize creating unity among themselves and fixing their internal crisis before expecting proper treatment from external bodies. To start with, professional bodies in Nollywood such as the Actors Guild of Nigeria  (AGN)need to become more assertive, functional, and involved in the goings-on in the industry and look into the enforcement of rights and fair treatment of industry practitioners. They should oversee the proper training and remuneration of screenwriters and other crew members, to improve production quality. There also needs to be more accessible opportunities for up-and-coming filmmakers and actors, creating room for mentor-mentee relationships with established voices and facilitating smooth integration of newbies into the mainstream. With these approaches, Nollywood becomes healthier in appearance, just enough to attract investment and partnership opportunities locally and abroad without necessarily currying favor.