EbonyLife Group CEO Mo Abudu has dismissed allegations of a so-called “cinema cabal” within Nollywood, stating that film scheduling is driven by audience demand and commercial performance — not favoritism.
Speaking on ARISE Television, the media mogul explained that cinemas operate strictly on business logic, emphasizing that keeping films on screen without audience turnout is financially unsustainable.
“I can’t speak for all cinemas, but I can certainly speak for EbonyLife Cinemas. It’s not true,” Abudu stated.
She added that even films produced by her family members have been removed from screens due to poor attendance, reinforcing her claim that no film receives special treatment. According to her, cinemas prioritize return on investment by filling seats, making the deliberate sidelining of successful films counterproductive.
The controversy follows public complaints from filmmakers Toyin Abraham, Niyi Akinmolayan, and Ini Edo. They alleged that their December releases — Oversabi Aunty, Colours of Fire, and A Very Dirty Christmas — faced sabotage. Reported issues included films being falsely marked as sold out, assigned unfavorable time slots, or audiences being redirected after purchasing tickets.
Veteran actress Omotola Jalade Ekeinde, who was also present during the discussion, acknowledged that such grievances are common among industry professionals and fans. However, Abudu reiterated that screening schedules, peak hours, and cinema slots are determined by performance data, operational costs, staffing, and power usage.
The conversation also touched on shifting promotional trends in Nollywood. Ekeinde separately criticized the growing expectation for actors to dance on social media to promote films, describing the practice as “unprofessional” and an unnecessary burden on performers.
As the debate continues, Abudu’s remarks offer a business-focused perspective on cinema operations, challenging the idea of an organized system blocking certain films and highlighting the role of audience behavior in shaping Nollywood’s theatrical landscape.
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