In the center of a metaphorical boxing ring, three Nollywood filmmakers step into the spotlight: Funke Akindele, Toyin Abraham, and Jade Osiberu. Akindele steps forward with her tried-and-true champion, Everybody Loves Jenifa, a franchise that has consistently won the hearts of Nigerian cinema enthusiasts. Toyin Abraham counters with Alakada: Bad and Boujiee. And completing the triad is Jade Osiberu—acclaimed for her previous hits like Isoken (2017), Sugar Rush (2019), and Gangs of Lagos (2022)—who introduces A Christmas in Lagos. The stage is set, and the fighters are ready for the celebration of Nollywood’s dynamic storytelling.
To trace the origins of Christmas magic in Nollywood, one must journey back to 2016, when Kemi Adetiba’s The Wedding Party became a game-changer. The film grossed over 400 million Naira, a record that stood until Funke Akindele’s Omo Ghetto: The Saga surpassed it in 2021. Unlike Hollywood, which regularly produces high-budget Christmas-themed blockbusters, Nollywood hadn’t traditionally ventured into this space. The industry lacked structure and intentionality in holiday-themed storytelling—until The Wedding Party. Premiering first at TIFF and released worldwide on December 16, the film boasted a star-studded cast, including Adesua Etomi (now Wellington), Banky Wellington, Sola Sobowale, Richard Mofe-Damijo, and Beverly Naya. The film was a mirror that reflected the intricacies of Nigerian weddings. It intertwined humor, love, infidelity, and forgiveness, wrapped in the ceremonial bow of a big, culturally significant wedding, a spectacle Nigerians love.
In hindsight, The Wedding Party didn’t just set box office records; it ushered in an era of holiday-centric Nollywood films. The irony was not lost that Omo Ghetto: The Saga, the film destined to eclipse its box office success, would also debut on Christmas Day in 2020. Between 2016 and 2020, this seasonal trend blossomed, nurtured by titles like Lionheart (2018), Sugar Rush (2019), Kunle Afolayan’s A Naija Christmas (2021), and Funke Akindele’s string of hits: Omo Ghetto, Battle on Buka Street, and A Tribe Called Judah.
Akindele, in particular, has demonstrated an unmatched ability to capitalize on the holiday season’s cinematic potential. From her early days in I Need to Know to her recent blockbuster streak, she has cemented herself as an unstoppable force in Nollywood. Her films, especially A Tribe Called Judah, highlight her deep understanding of audience preferences and her knack for innovative marketing. So profound is her impact that fans have joked she could excel in a full-time marketing career, thanks to her effective and creative campaigns.
“I’m most excited about Everybody Loves Jenifa,” shares Shalom Aiyanna, a content creator. “To be honest, I was a little indifferent, until the Christmas song they posted.”
Before the film’s release, Funke Akindele debuted a festive music video on YouTube titled Everybody Loves Christmas, a playful nod to Everybody Loves Jenifa. True to her style, the release was a hit, featuring beloved characters like Bisola Aiyelola, Falz, Layi Wasabi, Patience Ozokwor, and many more joyfully singing and dancing.
Truly, Akindele’s ability to unite a diverse ensemble and foster familial warmth has been a hallmark of her success. During the movie’s premiere, she expressed her gratitude, saying, “To the cast of Everybody Loves Jenifa, you can see that we’re one big family. These guys are wonderful, they are positive-minded. We’ll wake them up very early, they’ll sleep late and they are still standing.”
Toyin Abraham, too, has solidified her place in the Nollywood marketing landscape. It’s remarkable how both she and Funke Akindele have carved out historical trajectories in Nigerian cinema. The longevity of their franchises is particularly noteworthy—Jenifa dating back to 2008 and Alakada to 2009—yet they continue to captivate audiences. While Akindele has maintained consistent momentum with her running series Jenifa’s Diary, Abraham’s appeal might seem less defined, but her undeniable talent remains her strongest asset.
Jade Osiberu, the last of the trio, stands out with her unique cinematic approach. Christmas in Lagos is the only streaming movie on this list through her three-year partnership with Amazon Prime. It promises spectacular visuals, with a trailer that encapsulates the vibrancy of Lagos during the Christmas season—a tableau of light, love, and interconnected friendships.
“I’ve been eagerly anticipating another Jade holiday film since Sugar Rush,” says Daniel Okechukwu, a film critic and founder of InNollywood. “Sugar Rush was arguably the most compelling holiday film since The Wedding Party 1. This might potentially be her final collaboration with Amazon Prime, and if so, she’s certainly leaving with a bang, reaffirming her prowess in crafting memorable holiday narratives.”
The film features an impressive cast, including luminaries like Shaffy Bello, Wale Ojo, Richard Mofe-Damijo, Afrobeats artists such as Ayra Starr and Ladipoe, and Rayxia Ojo, who recently starred in the British crime film Supacell.
Sharing her expectations, Aiyanna says, “I try not to set high expectations because I don’t want to be disappointed. But I hope they make me laugh. I just want to laugh.”
Praise Okeogene, a culture reporter and screenwriter, also keeps her hopes measured. “Nollywood doesn’t really do romcoms often,” she notes, “but I’m interested in this one because it’s a Christmas romcom, and the trailer feels like it embodies the energy of Detty December. Plus, it’s from Jade, who gave us Isoken.”
What ties these three films—Everybody Loves Jenifa, Alakada: Bad and Boujee, and A Lagos Christmas—together is their relatability, humor, and festive vibe, three elements Nigerians adore. Alongside, the box office has also seen releases like Femi Adebayo’s Seven Doors, Mercy Aigbe’s Thin Line, and AY Makun’s The Waiter.
Nollywood has evolved from a place devoid of intentional Christmas film strategies, albeit not yet reaching its full potential. This is rooted in recognizing that the holiday season represents a profound cultural moment of reunion. Filmmakers now strategically leverage this period, acknowledging that Nigerians crave storytelling that mirrors their lived experiences, moments of relaxation, connection, and collective joy, as families traverse vast distances to converge and create memories before dispersing again in the new year.
In the center of a metaphorical boxing ring, Funke Akindele stands out as the winning boxer, dominating conversations on social media. Everybody Loves Jenifa, which premiered on December 13, has amassed nearly 300 million naira in its first week. Akindele’s only competitor is herself, as she continues to break her own records. This success was expected—after all, she is the undisputed queen of the box office. However, the question remains, which film will leave a lasting mark on Nollywood? With Netflix reducing its investment in the Nigerian market, the industry must explore new ways to grow cinema culture. The final verdict? Still unwritten. But in this cheerful season, one thing becomes beautifully clear: Nollywood’s magic lies not just in its stories, but in its resilient capacity for reinvention.
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