Nigeria’s entertainment scene never takes a dull week off, and this past seven days have been a perfect illustration.
From thought-provoking panels at AFRIFF 2025 that dissected the realities of making films in Nigeria, to viral on-set clashes reminding us of the industry’s structural gaps, the stories of this week captured both the brilliance and the chaos of Nollywood.
As creatives strive for excellence amid funding struggles, logistical hiccups, and workplace controversies, one thing remains: the Nigerian entertainment industry is vibrant, resilient, and constantly evolving, sometimes in ways that inspire awe, and other times in ways that spark urgent conversations.
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AFRIFF 2025: The Realities of Making Films in Nigeria
This year’s Africa International Film Festival (AFRIFF) offered more than just red carpets and premieres; it delivered conversations that made every attendee rethink what it actually takes to create in Nigeria.
A highlight was the panel featuring Dr Sid, M.I. Abaga, Charles Okpaleke, and Paul Okeugo, where the four creatives tackled the pressures of chasing excellence in an industry bursting with talent but short on structure.
Former Mavin star turned filmmaker Dr Sid didn’t sugarcoat anything. He urged Nigerian creators to measure themselves against global standards, not local applause.
“Our competitors are no longer Nigerians. We’re playing in a global space,” he said.
Dr Sid’s point was clear: excellence isn’t a one-time achievement; it’s a habit. He shared how he’s been developing a story for three years, constantly seeking feedback before a first draft. In a world obsessed with virality, his patience-centred approach was both refreshing and intimidating.
Hip-hop star turned cultural advocate M.I. Abaga framed creativity as nation-building. He highlighted the audacity that propelled Nollywood and Afrobeats onto the global stage, but lamented the lack of funding:
“People in the film industry are making magic on shoot-through budgets. In the West, a million-dollar film is considered low budget. Here, that’s a big deal.”
Despite financial hurdles, M.I. insisted that Nigerian creators are laying the foundation for a global cultural force.
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Chocolate City co-founder Paul Okeugo took a pragmatic approach. Rather than focusing on the perennial funding complaints, he emphasised structure and professionalism.
“We want Hollywood money on a Nigerian budget. But money is really a byproduct of excellence.”
He’s backing this philosophy with action, revamping a government-owned film school and launching a post-production sound facility to address Nollywood’s long-standing technical issues.
Producer Charles Okpaleke, behind hits like Living in Bondage: Breaking Free, stressed that Nollywood needs state support to flourish.
He compared Nigeria’s approach to South Africa, where grants and infrastructure empower young filmmakers. He also highlighted the untapped potential of the soundtrack economy, showing how films and music can mutually drive revenue.
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AFRIFF’s Dual Nature: Magic and Mess
While the panels were inspiring, the festival itself had its share of hiccups. Short film screenings were delayed, shuffled between venues, and occasionally suffered technical issues. For emerging filmmakers, the chaos translated to lost premieres and disappointed audiences.
Yet, despite the logistical headaches, AFRIFF remains a sacred space, a week where Nigerian cinema takes centre stage, and creators can network, learn, and dream.
Nollywood On-Set Clash: Taye Arimoro vs Peggy Ovire
While AFRIFF highlighted the industry’s intellectual and creative progress, real-world Nollywood dramas remind us of its structural shortcomings.
Actor Taye Arimoro recently alleged assault on set by actress-producer Peggy Ovire, sparking viral videos, social media debates, and heated arguments over professional conduct.
According to Arimoro, the incident began when he attempted to leave the set after his contracted hours. He claims he was blocked, assaulted, and even had his car tyres deflated. His livestream showing injuries to his gums and lips quickly went viral.
Peggy Ovire’s version, however, paints her as the peacemaker. She claims Arimoro became violent first, attacking crew members after being asked to film two short scenes. She alleges that his aggression necessitated intervention to maintain order on set.
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The Industry Reacts
The incident reignited conversations about Nollywood’s unsafe working conditions and lack of enforceable codes of conduct.
Social media erupted with opinions, divided between sympathisers of both parties. Viral CCTV footage only partially clarified events, showing physical obstruction but not the full story.
Industry insiders note that such incidents are far from rare. Crew members often face long hours, verbal abuse, and occasional physical intimidation. Without strong unions or protective policies, power imbalances dominate film sets, leaving workers vulnerable.
The Nigeria Film Crew Community (NFCC) called for reform, emphasising that production managers and actors alike must prioritise safety, respect, and accountability.
“Violence has no place in our industry. Respect is not negotiable,” the NFCC stated.
Conclusion
From AFRIFF panels urging excellence and nation-building to on-set disputes demanding accountability, the narrative of Nigerian entertainment is that the industry is at a crossroads.
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