In the mid-2000s, the excitement of cinema outings in Nigeria was evident. Whether it was a family preparing for a Sunday outing or a group of friends queuing up for the latest Nollywood or Hollywood blockbuster, cinemas were filled with energy.
From the newly built Silverbird Cinemas in Lagos to smaller theatres in Abuja, the culture of going to the movies was on the rise, and it felt like it was only going to grow. People flocked to these venues not just for the films but for the experience—the popcorn, the laughter, the collective gasps when a plot twist unravelled on the big screen. It was, for many, an escape from the bustling streets and daily grind, a window into other worlds
For decades, cinemas have been cultural landmarks in Nigeria. They offer something for everyone—a weekend date, a family treat, or a solo escape. Cinemas are also a hub for cultural exchange, as Hollywood and Nollywood productions find equal footing in the viewing schedules. Once a symbol of colonial influence, the cinema became a space where Nigerians could come together to see themselves reflected on the big screen through local stories.
Fast-forward to 2024, and the story is changing. The once-larger-than-life cinema halls are no longer as full as they once were. Foot traffic has slowed, box office sales have taken a significant hit, and some theatres have closed their doors for good. Industry insiders now talk about an existential crisis facing the cinema business in Nigeria.
This shift begs the question: what has happened to Nigeria’s once-thriving cinema culture? Is it merely a temporary dip caused by economic pressures, or are cinemas slowly becoming relics of the past, outpaced by digital innovations and shifting consumer habits?
The story of Nigeria’s cinemas is a complex one. It’s a tale of how historical, economic, technological, and social forces have converged to shape the industry. To understand the decline, we must first explore its roots, the evolution of cinema in Nigeria, the challenges of running a cinema business, and the forces driving audiences away from theatres today.
From the golden age of early cinemas in Lagos to the present-day struggle for relevance, this article examines the decline of cinema in Nigeria, why it matters, and whether there is still hope for revival.
The History and Evolution of Cinema in Nigeria
The story of cinema in Nigeria is one of transformation, mirroring the country’s own political and economic journey. Introduced during the colonial era, cinema began as a tool of cultural dissemination, a medium through which British and American films were shown to the Nigerian public, often with narratives that reinforced colonial ideologies.
Early Beginnings: The Colonial Era
In the 1930s and 1940s, cinema houses started to emerge in major cities like Lagos, Ibadan, and Kano. These early movie theatres were typically located in upscale areas, attracting expatriates and wealthy Nigerians. The types of films shown were almost exclusively British or American, with colonial authorities viewing cinema as a way to promote Western values. One early movie house, the Kingsway Cinema in Lagos, was an iconic spot.
Post-Independence: Nigerian Films on the Rise
With independence in 1960, Nigeria began to see the gradual rise of its film industry. Local filmmakers such as Hubert Ogunde, often regarded as the father of Nigerian theatre and film, started producing films that reflected Nigerian culture and tradition. Ogunde’s 1963 movie, “Aiye”, was among the earliest local productions in Nigerian cinemas, paving the way for others to tell uniquely Nigerian stories.
Filmmakers like Adeyemi Afolayan (Ade Love) and Ola Balogun followed Ogunde’s footsteps. Their films often dealt with themes of social justice, African spirituality, and Nigerian folklore. These movies were typically shown alongside Hollywood blockbusters, attracting mixed audiences who sought both international and local entertainment.
The Oil Boom and Cinema’s Golden Age
The 1970s oil boom brought prosperity, and cinema thrived as disposable incomes rose. More families could afford to visit cinemas regularly, and the industry expanded further. Movie theatres became essential to urban Nigerian culture, with UAC’s Metro Cinema and Rex Cinema in Lagos periodically drawing large crowds.
During this period, Nigerian cinema had its first boom, marked by a significant rise in both local productions and imported films. Nigerian films like “Ajani Ogun” (1976) and “Ija Ominira” (1978) gained traction, and local directors began to experiment with different genres, from action to romance and comedies.
The 1980s Decline: Economic Downturn and The Rise of Home Video
The first significant blow to Nigeria’s cinema industry came in the 1980s when the economy nosedived due to falling oil prices. The resulting recession led to widespread hardship, and luxuries such as cinema outings became less frequent. Many cinema owners could no longer afford to keep their doors open. The cost of importing films, maintaining cinema infrastructure, and running generators due to unstable electricity made the business unviable for many operators.
During this period, a new form of competition emerged: home video. With the advent of cheap video cassette recorders (VCRs), many Nigerian households began to watch movies at home. Local filmmakers saw an opportunity in the home video market, bypassing the expensive cinema distribution system altogether. This led to the birth of Nollywood as we know it today.
The release of “Living in Bondage” in 1992 marked the dawn of the Nollywood era. The straight-to-video model allowed filmmakers to shoot movies quickly and distribute them directly to the public. According to a 2018 UNESCO report, by the mid-1990s, over 80% of Nigerians watched films on VCRs rather than in cinemas, marking a significant cultural shift.
The Cinema Revival: 2000s and Beyond
By the early 2000s, Nigeria’s cinema industry had largely become dormant, with most Nigerians consuming movies through the burgeoning home video market. However, a revival began in the late 2000s, driven by the growth of urban middle-class consumers and an increasing desire for a premium film experience.
In 2004, Silverbird Cinemas opened the first multiplex in Nigeria at the Silverbird Galleria in Lagos. This marked the beginning of a new era for cinema in the country. Over the next decade, other cinema chains like Filmhouse Cinemas and Genesis Deluxe Cinemas emerged, capitalising on Nigeria’s rising urban population and the growing popularity of Nollywood blockbusters like “The Wedding Party” and “October 1st.”
By 2016, the Nigerian box office had grossed ₦3.5 billion, with over 2.5 million tickets sold annually, according to the Cinema Exhibitors Association of Nigeria (CEAN). Nollywood films accounted for 30-40% of the box office revenue, showing the continued interest in locally produced content. International films, however, still drew larger audiences.
Statistics from 2022 show that there were approximately 60 cinemas in Nigeria, but they remain concentrated in urban areas, particularly in Lagos and Abuja. Despite the revival, the number of cinemas per capita in Nigeria is still low compared to other countries. For example, while South Africa has over 200 cinemas, Nigeria, with nearly four times the population, needs to catch up.
The Nature of the Cinema Business in Nigeria
In recent years, cinema chains such as Silverbird Cinemas, Filmhouse Cinemas, and Genesis Deluxe Cinemas have reinvigorated the cinema scene, especially in urban centers like Lagos, Abuja, and Port Harcourt. These cinemas have become the heart of movie-watching culture, often viewed as spaces where Nigerian and Hollywood films come together to attract audiences. However, despite the apparent growth, the business remains highly concentrated. According to a 2023 report by the Cinema Exhibitors Association of Nigeria (CEAN), just over 50 cinemas are operating across the country, a deficient number given Nigeria’s population of over 200 million.
Most cinemas are clustered in Nigeria’s wealthiest urban centres. For instance, Lagos hosts 22 cinema locations alone, while regions like the northeast of Nigeria remain underserved, with only 1 or 2 cinemas catering to millions of people. The disparity in cinema access across the country highlights a structural challenge in the cinema business: geography matters. Nigeria’s uneven economic development means that cinema is often a luxury enjoyed only by the urban elite.
Demand and Patronage: The Struggle for Audiences
One of the cinema business’s defining characteristics is its dependency on demand and patronage. Unlike the 1980s and 1990s, when cinemas were the primary mode of entertainment, modern audiences have numerous alternatives to watching movies in theatres—such as streaming platforms and home entertainment. For the cinema business to succeed, operators must deliver an experience that makes leaving the comfort of home worth the expense.
Take Genesis Deluxe Cinemas, a Nigerian cinema scene pioneer operating branches nationwide. In a conversation with one of the operations manager, the operations manager for Genesis Cinemas in Enugu, he explains the daily struggle to attract patrons:
“At our Enugu branch, we average about 50-60 patrons per weekday, and this rises to around 150-200 on weekends. Compare this to our Lagos branches, where weekend traffic can exceed 1,000 patrons, and you can see how much harder it is to keep cinemas profitable in non-urban centers.”
He also notes that cinema-going has become increasingly price-sensitive. “With ticket prices ranging from ₦5,000 to ₦6,500 depending on the location and the movie, most Nigerians would rather opt for cheaper alternatives. The Nigerian minimum wage is ₦70,000 per month, and for many, spending even ₦2,000 on a single cinema ticket feels like a luxury.”
According to CEAN data, total box office revenue in Nigeria stood at ₦6.94 billion in 2022, but this number doesn’t tell the full story. While urban centres like Lagos and Abuja contributed the lion’s share, smaller cities saw significantly lower patronage. In cities like Enugu, Owerri, and Ilorin, where household incomes are lower, foot traffic at cinemas has declined by as much as 20% over the last five years.
Financing and Profitability: Capital-Intensive Ventures
Running a cinema in Nigeria is a capital-intensive venture, requiring significant upfront investment. Building a cinema, for example, can cost anywhere between ₦200 million and ₦500 million, depending on its size and location. Operators must factor in real estate, interior construction, sound and projection equipment, seating, and concession stands. After that, operational costs—particularly the cost of electricity—can eat into profits.
“The cost of running a cinema in Nigeria is astronomical,” says Chika a marketing executive at at a cinema house in lagos. “The reliance on generators alone is a killer. In cities like Abuja, where we run our cinema on generator power for nearly half the day, fuel expenses can account for 25-30% of our total monthly costs. Then there’s the high import duty on projection equipment, which makes it difficult to upgrade to newer technologies.”
Despite the costs, cinema owners rely heavily on box office receipts for revenue. While some profits come from concessions (popcorn, drinks, etc.), the real money lies in ticket sales. However, box office profitability is highly dependent on the kind of films shown. Big-budget Hollywood blockbusters often attract more patrons than Nollywood films, although the latter has its audience among the local population.
Types of Films Shown in the Cinema
The types of films shown in Nigerian cinemas highlight the delicate balance operators must strike between local and international content. For example, Hollywood blockbusters like “Avengers: Endgame” and “Black Panther” remain top draws at the box office. In 2022, foreign films accounted for approximately 70% of total cinema revenue, according to CEAN statistics.
But Nollywood films are no pushovers. Local films like “The Wedding Party” and “Omo Ghetto: The Saga” have set box office records, with the latter grossing over ₦636 million. These films perform best during peak holiday seasons, such as Christmas, when family audiences flock to cinemas for the latest homegrown hits.
Kemi Adetiba’s “King of Boys”, released in 2018, was one of the first Nollywood films to break into the mainstream, earning ₦245 million in box office revenue. In speaking with Uche Anya, a senior analyst at CEAN, she highlights that:
“Nollywood movies have a seasonal appeal. The holiday period from December through January is when these films dominate. However, during non-peak periods, the ticket sales for local films plummet, and cinemas have to rely on big Hollywood releases to keep their seats filled.”
This creates a cyclical business model where profits spike during peak seasons but slump during off-peak periods.
Why Cinema is Declining in Nigeria
The decline of cinema attendance in Nigeria is not just about the rise of competing forms of entertainment; it’s a complex interplay of technological advances, economic pressures, and social changes. Despite cinema’s cultural significance, several factors pull people away from theatres, leading to a sharp drop in foot traffic.
The Rise of Streaming Platforms
Streaming platforms have disrupted the traditional cinema experience globally, but Nigeria’s impact has been remarkably swift. Netflix, Showmax, and Amazon Prime Video have become household names, offering Nigerians a cheaper and more convenient alternative to cinemas. Instead of spending money on tickets and transportation, viewers can watch an unlimited range of movies and series from the comfort of their homes, often for less than one cinema ticket.
“Streaming platforms have found a sweet spot, offering people the convenience of watching movies anywhere, anytime,” says Bolaji Alonge, a media analyst. “For an average Nigerian, it’s easier to pay ₦1,200 for Netflix per month than to go to the cinema and spend the same amount on one movie ticket.”
Netflix’s aggressive move into Nollywood has accelerated this shift. In 2020, Netflix invested significantly in Nigeria’s film industry, acquiring rights to local blockbusters like “King of Boys.” Many films that would traditionally have premiered in cinemas are now debuting on Netflix, leaving fewer reasons for moviegoers to visit theatres. This trend has effectively reduced cinema footfall, especially in urban areas with better internet access.
Economic Constraints
Nigeria’s economic challenges are a central factor in the declining numbers. As inflation continues to rise—hitting 24% in 2023—disposable income for leisure activities like cinema has dwindled. Cinemas have responded by raising ticket prices to cover operational costs, making movie-going unaffordable for many Nigerians.
For instance, in 2023, the highest-grossing film in Nigeria, “A Tribe Called Judah,” earned ₦1.4 billion at the box office. While this may appear impressive at first glance, a closer look reveals the story behind the numbers. With an average ticket price of ₦6,500, only 216,029 tickets were sold. By comparison, in 2020, Funke Akindele’s “Omo Ghetto: The Saga” grossed ₦636 million, with an average ticket price of ₦2,000, resulting in approximately 318,065 tickets sold. The disparity shows that fewer people are attending the movies while revenues are rising. The price hike is narrowing the audience base, as fewer people can afford the escalating costs of going to the cinema.
“I used to go to the movies every weekend,” says Chidi Agbo, a resident of Lagos. “But now, I’d rather save that money. With fuel prices going up and the cost of living skyrocketing, spending ₦5,000 on a movie for me and my wife feels like a luxury we can no longer afford.”
Economic realities in Nigeria mean families increasingly prioritise necessities—food, transportation, and rent—over leisure activities like cinema. According to a 2022 National Bureau of Statistics (NBS) report, about 40% of Nigerians live below the poverty line, making a ₦2,500 movie ticket beyond reach for most.
Insecurity
Insecurity is another critical factor. With growing incidents of kidnappings, armed robberies, and violent attacks in certain regions, Nigerians are increasingly wary of public spaces. While cinemas in Lagos, Abuja, and Port Harcourt still operate without major concerns, cinemas in the north and middle belt of Nigeria face significant challenges due to fear of violence.
“I haven’t been to a cinema in two years,” says Fatima Ibrahim, who lives in Kaduna. “It’s not worth the risk. My family prefers staying at home and watching movies on TV. At least we feel safer.”
Insecurity has transformed the cinema from a casual social outing into something that requires more careful planning and consideration, reducing spontaneous visits and shrinking cinema foot traffic.
Piracy
Piracy has long been the Achilles’ heel of Nigeria’s film industry, which remains a significant reason why cinemas struggle. The moment a film premieres in Nigerian cinemas, pirated copies often surface within days. These copies are sold on the streets for as little as ₦100, making it difficult for cinemas to compete.
Bayo Akinola, a distributor who works closely with Nollywood filmmakers, remarks: “Piracy is a constant battle. Some people don’t see the value in paying ₦2,500 for a movie when they can get a pirated copy for next to nothing. It’s crippling the industry.”
Piracy is the preferred option for many Nigerians because it’s more affordable and convenient. The financial loss to the cinema business is enormous, with local and international films being copied and sold on the black market. This issue also affects filmmakers, reducing their profits and discouraging them from making films designed for cinema distribution.
Competing Entertainment Options
Cinemas in Nigeria also compete with a broader range of entertainment options. Social media, video-sharing platforms like YouTube, and online gaming have captured the attention of younger audiences, particularly Gen Z. Many Nigerians, especially in urban centres, spend more time on TikTok and Instagram than watching films.
“Why go to the cinema when I can watch movie clips on TikTok or binge-watch YouTube series?” asks Jessica Adeoye, a 21-year-old university student. “Most of my friends don’t even talk about going to the movies anymore.”
Online platforms provide bite-sized content that caters to shorter attention spans, which appeals to younger audiences. Cinemas, which require a financial commitment and long viewing times, struggle to compete in this fast-paced, digitally driven age.
Which Do Filmmakers Prefer: Cinema or Streaming?
For many Nigerian filmmakers, the road to getting a film screened in cinemas is fraught with obstacles. Traditional distribution channels are highly competitive, and securing screen time in cinemas is often a struggle. Larger productions and Hollywood blockbusters dominate the prime slots, while local films sometimes lack adequate promotion or limited showtimes. It’s not uncommon for smaller films to be squeezed out of cinemas after only a few days if they don’t immediately perform well at the box office.
For example Mami Wata the black-and-white fantasy thriller inspired by West African folklore, showed for only two weeks, and with mostly unfavourable time slots. According to Al Jazeera, the average length of time that films spend in Nigerian cinemas is between four to and weeks, though some films stay up to eight weeks. But Mami Wata was reportedly pulled from cinemas after less than three weeks.
This uncertainty is daunting for filmmakers, especially those working on smaller budgets. Streaming platforms, however, offer a guaranteed home for their work. Platforms like Netflix, Amazon Prime, and even regional services like Showmax buy distribution rights upfront, providing filmmakers with immediate security. Instead of worrying about whether their film will make it to the big screen, they know their work will reach audiences worldwide.
Jide explained this shift: “With cinema, you’re constantly battling for screen time. Streaming platforms guarantee distribution. You get to focus on your film and trust that it will find its audience.”
By securing distribution deals with streaming services, filmmakers sidestep cinema releases’ unpredictable and often harsh nature. This shift also alleviates the need for extensive marketing budgets to push box office performance—a significant advantage for independent filmmakers.
Let’s talk about the Money too
One of the biggest draws of streaming for filmmakers is the revenue model. Unlike cinema, where a film’s earnings are tied to ticket sales, streaming platforms often provide upfront payments for distribution rights. This is especially appealing for smaller filmmakers who may not have the resources to market their films extensively in theaters, where a film’s financial success is largely dependent on its opening weekend.
In the cinema model, a film’s revenue is spread over time, often dictated by ticket sales, which fluctuate depending on competition, marketing efforts, and audience preferences. If a film doesn’t perform well in its first few weeks, it’s quickly pulled from theaters, leaving filmmakers with little to no profit. For example, Genevieve Nnaji’s “Lionheart” became a global sensation when it was acquired by Netflix. While it could have done well in cinemas, the upfront payment from Netflix ensured that the film was profitable before it was even streamed.
Streaming deals provide filmmakers with a sense of financial security that cinema cannot always offer. With cinema, you’re constantly at the mercy of box office performance. Streaming, on the other hand, allows filmmakers to recoup production costs and make a profit without the uncertainty of how many tickets will sell. Additionally, streaming platforms tend to buy global rights, giving filmmakers access to international audiences and a broader revenue base.
Streaming also helps Nigerian filmmakers tap into audiences in the diaspora. Nollywood films have a massive following in countries like the US, the UK, and Canada. Streaming platforms make it easy for these audiences to access Nigerian films, further expanding the market for filmmakers.
Conclusion
The Nigerian cinema industry stands at a crossroads. While it faces formidable challenges, including competition from streaming platforms, rising operational costs, and shifting audience habits, it is not without hope. The historical significance of cinemas in Nigeria, from their early days to the modern multiplexes of today, cannot be overlooked. Cinema has long been a space for collective cultural experiences, and with the right innovations and strategies, it can remain so.
Emerging trends such as experiential cinemas, a renewed focus on Nollywood content, government support, and technological innovations like Virtual Reality, signal that the industry is far from obsolete. Cinema operators are finding creative ways to attract audiences and ensure the big screen experience remains relevant in the face of evolving entertainment preferences. Expanding into other growing cities and experimenting with immersive technologies shows that cinema in Nigeria is not static but constantly adapting.
The road ahead requires a combination of creativity, investment, and policy support. As stakeholders collaborate to navigate the challenges, the cinema experience in Nigeria can continue to evolve, offering audiences something that streaming platforms simply cannot: a shared, immersive, and uniquely Nigerian experience. In Kunle’s words, “The magic of cinema is its ability to bring us together, to laugh, cry, and reflect on our own stories. That magic will never die, as long as we continue to innovate and celebrate our own stories.”
Ultimately, while the experience has changed, the enduring appeal of cinema as a cultural institution remains strong. The future of Nigerian cinema, though uncertain, is still full of promise.