A significant wave of discontent has swept through Nigeria’s film industry, Nollywood, as prominent filmmakers publicly accuse local cinemas of engaging in ticket manipulation. Leading the charge are actress-director Toyin Abraham and filmmaker Niyi Akinmolayan, who have voiced serious allegations regarding fraudulent practices that they claim are sabotaging their films’ box office performance and undermining their financial returns.
Toyin Abraham, whose directorial debut “Oversabi Aunty” premiered during the competitive December holiday season, took to Instagram Live to detail her concerns. She explicitly accused certain cinema operators of falsely declaring showtimes as “sold out” despite the availability of seats, effectively turning away potential viewers. Abraham’s emotional appeal highlighted the deep personal investment and extensive promotional efforts she poured into her film, which reportedly garnered nearly N100 million in its opening weekend.
Further allegations from Abraham included claims of “ticket swapping,” where cinema staff allegedly redirected fans who sought tickets for “Oversabi Aunty” to other films, potentially due to preferential treatment or undisclosed incentives. This practice, if widespread, directly impacts a film’s reported revenue and distorts its true audience demand, causing significant financial heartbreak for creators who rely on box office success.
The actress-director’s live session quickly gained traction across social media platforms, including X (formerly Twitter), where clips went viral. Numerous fans and eyewitnesses corroborated her claims, sharing personal experiences of being told “Oversabi Aunty” was sold out, only to be offered tickets for alternative movies. These accounts lend considerable weight to the allegations, amplifying the call for greater transparency within the cinema exhibition sector.
Echoing Abraham’s frustrations, acclaimed filmmaker Niyi Akinmolayan also publicly condemned exhibitors over issues affecting his action-packed feature, “Colours of Fire.” Released around the same Christmas period and featuring a star-studded cast including Osas Ighodaro and Mercy Aigbe, Akinmolayan reported various screening problems that hindered his film’s reach and viewership, contributing to the broader narrative of systemic challenges faced by Nollywood producers.
The timing of these revelations coincides with a particularly crowded release schedule for December, traditionally a peak period for Nollywood titles. The intense competition for screen time and audience attention during this festive season exacerbates the impact of any alleged manipulation, making it even harder for films to achieve their deserved commercial success and recoup production costs.
In response to the mounting accusations, many industry supporters and concerned citizens have urged moviegoers to exercise vigilance. They advise patrons to verify showtimes directly with cinemas and persist in their efforts to support the films they intend to watch, rather than accepting alternative suggestions, thereby helping to counteract potential manipulative practices.
These incidents have reignited long-standing discussions within the Nigerian film ecosystem regarding favoritism, potential illicit payments to cinema staff, and broader systemic challenges in film exhibition. The lack of standardized, transparent reporting mechanisms for ticket sales has frequently been cited as a vulnerability, allowing for discrepancies that can harm filmmakers.
The financial implications for Nollywood filmmakers are profound. When box office figures are allegedly tampered with, it not only impacts immediate revenue but also deters future investment in film production, jeopardizes the livelihoods of cast and crew, and erodes trust within the industry. This environment creates a disincentive for quality filmmaking and innovation.
Stakeholders are now calling for urgent and comprehensive reforms to ensure fair play and accountability within the cinema distribution chain. This includes advocating for more robust auditing processes, clear contractual agreements between filmmakers and exhibitors, and potentially independent oversight to safeguard the integrity of Nollywood’s box office and foster a healthier, more equitable industry for all involved.
