Nollywood actor, Deyemi Okanlawon, has shared insights into why a growing number of Nigerian filmmakers are shifting their focus from traditional cinema releases to YouTube.
In an interview on Channels Television, Okanlawon cited the numerous challenges that independent producers face in bringing films to the big screen, describing it as a tough environment for newcomers.
“Taking a film to the cinema, it’s really difficult for an independent filmmaker, especially if you’re starting out. There are so many things that you’ll find as obstacles. So, it’s not really to their advantage,” he said.
He noted that YouTube is becoming an increasingly attractive alternative due to its accessibility and lack of gatekeeping.
“That’s why you find now that there are a lot of people who are serious filmmakers, but they are now gravitating towards YouTube. It’s very democratised.
“Nobody’s standing in your way. There’s no politics of, are you a popular producer? Are we giving you enough showtimes? Are you spending enough money on your marketing so that we can now decide whether your film is worthy of attention in cinemas?”
Okanlawon’s comments come amid a growing trend in Nollywood, where creatives are opting for direct-to-digital releases on platforms like YouTube instead of navigating the constraints of cinemas and major streaming services.
Reflecting on the financial realities of cinema releases, the actor shared his personal experience with a 2023 film that earned over ₦130 million at the box office — a figure he says was not enough to recoup production costs.
“Your profit is totally different, right? So now you’re looking at how much I spent? How much did I make? And remember that the entire N130 million cinema ticket sales wouldn’t come to just the producer,” he explained.
“It split up between the cinema and the government, who take its taxes. You’re going to get about 40% of that amount. And for me, I’ll tell you, that didn’t cover my costs.”
Okanlawon also touched on the reduced activity from global streaming giants like Netflix when it comes to commissioning Nigerian original content. According to him, the high expectations for breakout hits may have contributed to the slowdown.
“They were looking for their Squid Game. They were looking for their Money Heist that would come out of Nigeria. And while we’ve had some big films produced in Nigeria, I don’t think that they got enough traction,” he said.
Despite the platform or distribution method, Okanlawon affirmed his commitment to his craft, “No matter where I find myself, whether it’s a Netflix original, a cinema film, or now on YouTube, I’m going to give my 100%.”
