Femi Adebayo’s “Ageshinkole: King of Thieves 2” and The Community Cinema Initiative 

A few days ago, Nollywood actor and filmmaker Femi Adebayo took to social media to announce the second part of Ageshinkole: King of Thieves, a Yoruba epic production, which will be out at an unspecified date this Yuletide season. In the viral video, Adebayo revealed that the sequel will be distributed through community cinemas in Lagos and across the federation, with Lagos audiences paying four thousand naira and viewers outside Lagos paying three thousand naira. Unlike the first installment of the epic production which screened through major cinema chains nationwide in 2022 before its release on Prime Video, Ageshinkole: King of Thieves 2 will undergo an unconventional and seemingly unprecedented exhibition trajectory for a mainstream Nigerian film. Although the logistics of how the film will be shown from one community to another are unclear, the intention behind the model is noble. It draws attention to the nature and potential of community cinemas as a sustainable alternative distribution system in contemporary Nollywood.

Community cinemas are small-scale, locally driven film exhibition spaces that cater to specific communities or grassroots groups. While they may either be commercial or non-profit initiatives, they represent an attempt to make films more accessible, affordable and culturally engaging. They are usually operated in multi-purpose spaces, such as community halls, libraries, cultural hubs, educational facilities, religious centres, open-air venues and mobile setups.

In Nigeria, where the minimum wage is #70,000 and major cinema tickets cost 10% or more of the minimum wage, the average monthly income earner finds the experience unsustainable. As the country’s economy worsens and disposable income drops significantly, cinema outings become a luxury rather than a pastime for most people. Considering this, the introduction of community cinemas is a boon, offering the opportunity for low-earning Nigerians to enjoy films on the big screen with groups of family, friends and local cinephiles without the hassle of transportation and additional expenses that come with major theatrical experience.

For Nollywood, a rapidly developing industry tethered to the dire economic circumstances of the country, the rise of community cinemas decentralizes and democratises the chain of film distribution. Local filmmakers with small budgets may be allowed to showcase their films and appeal to the grassroots audience, while other grassroots actors may get the chance to connect and interact with visiting filmmakers in their communities.

More than just being a paradigm shift, Femi Adebayo’s plan for Ageshinkole: King of Thieves 2 makes a statement about the interrelationship between Nollywood and her audience. With the filmmaker and his team approaching the communities, they endear potential grassroots investors towards the industry. Also, this could be interpreted as a room to access direct feedback, which may be instrumental to creating policies and taking decisions towards the sustainability of the industry. Once the film succeeds from its experimental outing, which, of course, will come with its own hiccups, other major players will be encouraged to prioritize grassroots-driven approaches, without necessarily abandoning already established models, for more enriching viewership experiences.