Streaming Platforms: Nollywood’s Next Frontier or a Shiny New Toy?

The atmosphere was electric at the upscale Ikoyi venue on July 24, 2025. Nigeria’s entertainment heavyweights gathered: industry veterans, journalists, and executives, answering a call from two powerhouses. Inkblot Studios, the first Nigerian production house to partner with Amazon Prime and Netflix, had teamed up with Filmhouse Group, West Africa’s leading cinema and distribution giant. The big reveal finally landed: KAVA, a new streaming platform dedicated to Nollywood. Applause followed, signaling another bold step in Nigeria’s streaming evolution. But the event’s applause hid a question on everyone’s mind: in a field where Netflix and Amazon still dominate, how will yet another platform stand out? 

KAVA is not the only streaming platform asking for attention. Just a few months earlier, in December 2024, a quieter but equally ambitious rollout took place with the launch of Circuits. Where KAVA follows a subscription model, Circuits opted for a pay-per-view structure, positioning itself as a virtual cinema more than a Netflix clone. With DRM protection, anti-piracy tech, and its Flexiwatch feature—which grants viewers 30-day access to older Nollywood titles—Circuits is carving a space for flexible viewing. In a landscape where films leave Netflix once their licensing windows expire, Circuits makes a case for digital longevity. For instance, 21 titles are set to leave Netflix in August, including fan favorites like Merry Men, Sugar Rush, Elevator Baby, and The Wedding Party 2, have already found a new home on Circuits.

That same spirit of reinvention is at the core of EbonyLife ON Plus, announced this July by media mogul Mo Abudu. But unlike KAVA or Circuits, ON Plus is a cultural lifestyle hub, and not merely a streaming platform. Combining film and series with podcasts, masterclasses, fashion content, and curated regional programming in Yoruba, Igbo, and Hausa, it’s a platform rooted in African belonging rather than breadth. Abudu’s strategy is clear: go hyper-local to stay viable, relying on Nigerian infrastructure and free-to-air partnerships rather than competing head-on with global tech behemoths.

There is also Play Network Africa, led by Charles Okpaleke. Just three weeks ago, the company announced its government-approved digital cinema license, introducing a virtual reality viewing experience aimed at Nigerian audiences. Known for globally streamed hits like Blood Vessel and Hijack93, Okpaleke is pivoting from exporting Nollywood to embedding it deeper into domestic tech culture. His thinking is direct: he understands the African market isn’t just about storytelling, it’s about reshaping how those stories are consumed.

The more, the merrier, at least in theory. But what does this explosion of platforms mean in an economy like Nigeria’s? Since 2023, the naira has depreciated by over 70% against the U.S. dollar. Inflation hovers around 34%, and unemployment, especially among youth, remains staggering. With GDP growth stalling and consumer purchasing power rapidly eroding, platforms that charge users in naira but pay suppliers in dollars are facing a steep uphill climb. IROKOtv, once the darling of Nigerian VOD, suspended its operations last year, citing unsustainable losses. Even Netflix has slowed its investment in African content, reportedly focusing on select originals with high global crossover potential. In June 2025, Netflix raised Nigerian prices again (premium plans to 8,500 naira per month), citing inflation and exchange pressures. Clearly, any Nigerian service must tread carefully in this climate.

Mo Abudu’s strategy to partner with free-to-air broadcasters like TVC and Channels, and doubling down on local content and pricing reflects a growing awareness that global models can’t be copy-pasted into the Nigerian context. Circuits, too, appears to understand this, offering flexible one-off access rather than monthly billing cycles. But despite this, the looming shadow of global players remains. Showmax, which overtook Netflix in Africa last year, now boasts a formidable edge: a deep catalog of both local and international content (including HBO titles), seamless partnerships with African telcos, and a mobile-only plan priced at around three dollars per month. Netflix and Amazon may not be chasing volume in Africa, but their brand equity, user experience, and libraries still outstrip anything a local newcomer can offer.

In the end, many of these new streaming ventures are fueled by ambition and perhaps imitation. As streaming continues to dominate global media narratives, the concept has started to resemble a shiny new toy: everyone wants one. For production companies, it’s a badge of industry seriousness; for investors, a bet on digital gold. But as the landscape gets increasingly saturated, the danger is it risks being diluted. If each new entrant fails to offer a fundamentally different user experience or business model, they may find themselves echoing a question audiences have already begun asking: do we really need another one?

The streaming boom is, no doubt, a sign of Nollywood’s confidence in its global potential. But for all the glitz, algorithms, and launch parties, survival will come down to the least glamorous question of all: can they make the numbers work?