In the past few months, conversations around Netflix “pulling back” from Nigeria, Amazon Prime scaling out, and the struggle for cinemas to yield returns have dominated Nollywood spaces on Instagram, X (formerly Twitter) and in industry WhatsApp groups. And rightly so. There’s panic in the air – but are we panicking for the right reasons?
To find answers, we turned to one of Nollywood’s most respected voices: Chris Odeh.
Meet Chris Odeh: A Veteran With Real Skin in the Game
Chris Odeh is a mechanical engineer turned award-winning filmmaker, and a leading voice in African cinema with nearly two decades of experience in acclaimed productions like Tokunbo, Living in Bondage, and Rattlesnake – The Ahanna Story. He is the founder and senior producer of Sozo Films, co-founder and production lead at BRS Studios, and holds a vast range of consulting producer portfolios.
He is passionate about nurturing the next generation of filmmakers, and thus founded the Masterclass with Chris Odeh initiative, an annual training program that has empowered over 100 emerging creatives since 2020. He also convenes the African Film Forum (AFF), a platform fostering industry dialogue across Africa and Europe.
His book Before You Say Action and initiatives like the AFF reflect his commitment to shaping the continent’s cinematic future.
We sat with Chris for a brutally honest conversation about Nollywood’s biggest challenges.
Q&A With Chris Odeh
Question 1: Netflix has reportedly scaled back on commissioning Nigerian content since November 2024, and Amazon Prime has pulled out entirely. With less than 500,000 Nigerian Netflix subscribers in a country of over 200 million, do you think this proves the market simply isn’t ready, or have filmmakers not done enough to build value?
Answer:
First of all, I think it’s important to clarify that most of the fears being circulated about Netflix pulling out of Nigeria are largely based on unofficial reports. Let’s look at the facts. Just last month, The Party premiered on Netflix. In April, Lagos Love Story was released on the same platform. So if we’re saying Netflix has “left” or “withdrawn,” we need to ask—based on what?
Now, when it comes to whether the market isn’t ready or if filmmakers haven’t done enough, I honestly don’t think that’s the right framing. Nigerian filmmakers have consistently shown up. We’ve told our stories, in our unique voices, using the resources we have. Let’s not forget, it’s because of the raw power of those stories that platforms like Netflix and Amazon Prime came to us in the first place.
The Nigerian film industry is still an emerging market with its own unique challenges, especially around tech infrastructure. It’s not just about storytelling or market demand—it’s about access. For example, in a country of over 200 million people, only about 300,000 are paying Netflix subscribers. We’re trying to apply a global streaming model onto a country where tech access is still limited.
Here’s the real issue: Nigerians want to be entertained, but they don’t want to pay extra for it. They will use their data to be entertained, but not additional money. The key lies in cracking the code of making data an actual currency for entertainment, just look at YouTube. Anyone who can figure out how to monetize content through data usage holds the future. We have over 100 million Nigerians online who can watch content with data. So the focus should move beyond SVODs (subscription video on demand) and TVODs (transactional video on demand), and instead toward platforms where people can simply stream with their data.
Question 2: There are fewer than 120 cinemas in Nigeria as of 2025, with the majority concentrated in Lagos. Ticket prices now average between ₦5,000–₦7,500. Considering Nigeria’s low minimum wage and high inflation, can we honestly say cinemas are still a viable option for independent filmmakers?
Answer:
Let’s clear something up, there’s really no such thing as an independent filmmaker “taking their film to the cinemas” directly. That’s not how the system works. Cinemas don’t deal one-on-one with filmmakers. They deal strictly with licensed distributors. These distributors act as the gatekeepers, your middlemen—between your film and the big cinema chains.
Now, here’s the reality: cinema is a heavily structured and regulated ecosystem. It’s not just about making a film and thinking people will show up to see it because you believe it’s good. Distribution in cinemas follows strict rules and systems. Once your film is accepted by a distributor, there are still expectations.
Releasing a film without marketing is like planning a wedding and only telling your in-laws—no one else will show up. No matter how good the film is, without awareness, it won’t sell. That’s why marketing is crucial.
For indie filmmakers, it might be smarter to aim for online platforms, which offer wider reach without the high cost of cinema runs. Cinemas aren’t bad—they’re just a different ballgame. If you want in, you need a solid strategy, strong marketing, and the right partnerships. The structure exists, but it’s not built for everyone. Know the terrain before you dive in.
Question 3: Jason Njoku admitted that investing $100 million in IrokoTV was a mistake, but considering how IrokoTV once dominated Nigeria’s digital content space before global platforms arrived, do you believe local streaming platforms still stand a chance today if they evolve with the market, like what we now see happening on YouTube?
Answer:
Well, to be honest, when Jason Njoku said he regretted investing $100 million in IrokoTV, I found that a bit hard to swallow. Yes, maybe the numbers didn’t add up the way he had hoped—but IrokoTV changed the game.
Before Netflix even entered this market, it was IrokoTV that redefined how Nigerians accessed Nollywood content. People subscribed in their numbers. It was a fresh take, a real shift from the traditional DVDs and CDs we were used to. He introduced a new face to digital film consumption in Nigeria. That impact shouldn’t be downplayed, it laid the foundation for how we now think about streaming and online content here.
Now, the real question is: can a local streaming platform still survive today? The answer is yes—but only if you truly understand the market. We’re not in the same landscape as 2011 anymore. People aren’t rushing to pay for cable or VOD subscriptions like before. What we’re seeing now is that free-to-air is king.
Platforms like YouTube have become lifelines for indie filmmakers. YouTube’s model shows that audiences are there, but they’re not willing to be charged the old-fashioned way. So instead of trying to compete head-on with giants like Netflix, local platforms need to pivot. To win, local platforms must pivot. We need to create models that fit how Nigerians consume content today. If you can turn data into the real currency for content consumption, then you control the future.
A Hopeful Horizon for Nollywood
In speaking with Chris Odeh, one thing becomes clear, there is no room for despair. The challenges facing Nollywood today are not signs of decline, but opportunities for reinvention. As the industry evolves, so too must our strategies, mindsets, and methods. With the right vision, collaboration, and commitment to excellence, the future is not only promising, it is bright.
Rather than dwell on limitations, he urges filmmakers to embrace innovation and stay committed to telling authentic African stories. With the right approach, he believes Nollywood can create its own path, one that is tailored to our unique cultural, economic, and technological realities. The future of Nollywood may be evolving, but with passionate voices like his leading the conversation, there is every reason to remain hopeful and inspired
