To secure the top spot during the festive cinema rush, filmmakers often rely on aggressive marketing strategies, including social media campaigns and collaborations with colleagues and content creators to boost visibility.

However, the 2025 festive season was once again marred by controversies, ranging from intense competition over showtimes to allegations of monopoly and unethical practices involving producers and cinema operators.

Showtime War And Monopoly Claims

During the December cinema run, actress Toyin Abraham alleged in a viral video that some cinemas manipulated screening schedules, withheld tickets, and relegated certain films to unfavourable time slots — practices she said could negatively affect revenue and limit audience access.

First-time cinema producer Eni Edo also raised concerns, claiming her film was sidelined and allocated fewer screens. She alleged that cinema staff sometimes redirected audiences to other movies upon arrival, while her film was scheduled for odd hours in poorly maintained halls.

On December 26, 2025, filmmaker Niyi Akinmolayan accused some cinemas of deceptive practices, alleging that his film was advertised online, tickets were sold to viewers, but screenings did not take place as scheduled. He warned that he would publicly name cinemas and managers involved if the issue was not resolved.

While actress and producer Funke Akindele did not publicly comment on the controversy or report cancellations, fans credited the success of her film to strong performances, relatable storytelling, an effective ensemble cast, and aggressive promotion.

Is The Billion-Naira Mark The New Benchmark?

In an interview, actor and film producer John Njamah weighed in on the box office controversies and the growing pressure on filmmakers to hit the ₦1 billion mark.

He argued that the obsession with box office records has largely benefited a single dominant figure in recent years, which he believes dampens the motivation of other producers. According to him, filmmakers should shift focus from record-breaking figures to improving the quality of their work.

Njamah likened box office success to selling farm produce, noting that no amount of marketing can compensate for a poor-quality product. He stressed that competition should be about becoming better filmmakers, not outdoing specific individuals.

Addressing concerns about inflation and rising production, marketing, and ticket costs, he acknowledged that surpassing the billion-naira mark remains an achievement. However, he questioned who truly benefits from such success and whether it translates into growth opportunities for other filmmakers.

On the issue of showtime disparities, Njamah described cinema operations as a business driven by demand and financial realities. He noted that cinema owners are private investors facing heavy taxation and operational costs, which influence their programming decisions.

He added that the persistent conflicts would be reduced if Nigeria had more cinemas to accommodate its large population, questioning why multiple major releases are crowded into December instead of being spread throughout the year.

Speaking on how filmmakers can resist the pressure of chasing box office milestones, Njamah emphasised the need to return to the fundamentals of filmmaking.

He observed that discussions have shifted away from the craft of making good films toward sales, distribution, and revenue, stressing that while marketing is important, the quality of the product remains paramount.

According to him, prioritising storytelling and technical excellence is the foundation upon which sustainable success in Nollywood should be built.