For the first time in its history, a Nigerian film festival will host a dedicated film market. The African International Film Festival (AFRIFF) has announced the launch of the AFRIFF Film & Content Market (AFCM). This official announcement took place earlier this year after the Cannes Film Festival. And was followed up with a press and stakeholder briefing early this September.

AFCM aims to close the visibility, funding, and distribution gap in the Nigerian film industry. This gives various stakeholders in the industry the avenue to collaborate and welcome even international possibilities. The first edition will hold from November 3–6, 2025, simultaneously with the 14th edition of the AFRIFF festival.

AFCM is a joint partnership with the Ministry of Arts, Culture and the Creative Economy. A memorandum of understanding was signed between the AFRIFF founder Chioma Ude, Minister Hannatu Musawa, Nigerian Film Corporation Managing Director Ali Nuhu, comedian Bovi Ugboma, and other key stakeholders.

Interested attendees should expect a structured accreditation system that enables filmmakers to build profiles, upload projects, and schedule meetings with potential collaborators. And a floor plan of exhibition booths for guilds, production houses, and creative collectives. As well as advertising agencies seeking branded content opportunities, streaming platforms. And international producers in search of local expertise and regional insights.

What this AFRIFF innovation means for Nollywood

The launch of AFCM signals a turning point for Nollywood. For years, Nigerian filmmakers and talents relied heavily on international festivals and markets in Europe, North America, and beyond to pitch projects, secure co-production deals, or attract distribution. This dependence created a bottleneck where only a select few with the right connections could benefit. By introducing a structured content market at home, AFRIFF is breaking down those barriers and opening access to a wider pool of creatives.

With AFCM, opportunities are now within reach. Filmmakers and actors can showcase their projects without the burden of travel costs or the constant need to prove their credibility abroad. The platform itself absorbs much of the pressure, leaving creatives with one main task, showing up and pitching their work. This makes it easier to test ideas, build relationships, and establish authenticity in a familiar environment.

While AFCM doesn’t promise instant success, it provides a vital learning ground. Both emerging and established filmmakers can explore what the industry currently offers, gain insights into global standards, and spark fresh ideas for future projects. In doing so, AFCM creates a space where Nollywood professionals can refine their craft and prepare to compete more effectively on the international stage.

Opportunities Within the Ecosystem

Nollywood’s producers, actors, writers, and other crew members will now have a marketplace within their ecosystem, an environment where they can showcase projects, negotiate deals, and connect with both local and global players without leaving Lagos. This negotiation deal could in a way help talents really bid for what they are worth as opposed to waiting on middlemen or whatever is dropped on the table. Many may see this as a win solely for actors, actresses, directors and producers. But this is also a major game change for other departments integral to the filmmaking process. That have gone unnoticed and other valued for so long.

The presence of advertisers, alternative streamers, and international producers signals a diversification of funding sources, potentially reducing Nollywood’s overreliance on a few platforms and opening doors for innovative collaborations.

Beyond funding and distribution, AFCM also places strong emphasis on knowledge exchange. The market will feature panel sessions, masterclasses, and roundtable discussions where stakeholders can dissect pressing issues such as intellectual property rights, film financing structures, and emerging technologies in production and post-production. By curating conversations that bridge creative and business concerns, AFCM ensures that participants leave with not just deals but also insights that can sustain long-term industry growth.

Repositioning Africa on the Global Cinema Map

Another significant impact lies in how AFCM can reposition Africa on the global cinema map. International buyers and producers attending the market will gain firsthand access to authentic African stories told at scale, while Nigerian creators will benefit from understanding global content trends and standards. This two-way exchange will not only elevate the quality of projects coming out of Nollywood but also strengthen Africa’s bargaining power in global film negotiations. With consistent execution, AFCM could grow into a continental benchmark, setting the stage for Nigerian cinema to shape international narratives rather than just participate in them.

In essence, AFCM represents Nollywood stepping into the next phase of its global journey, shifting from being merely a content-producing hub to becoming a central player in the business of film. It positions Nigeria not just as Africa’s biggest film industry by output, but as a continental hub for film trade, networking, and knowledge exchange.

Conclusion

If AFCM is treated as a one-off experiment instead of an annual, evolving marketplace, it could lose momentum quickly. The long-term success depends on consistency, growth, and the ability to adapt to industry needs year after year.

The AFRIFF team will need to double their efforts to ensure that neither the festival nor the new film market suffers. Running both events side by side requires precise coordination, especially given concerns about organisational slips reported at previous editions of AFRIFF. From scheduling to logistics, the team must raise the bar on efficiency and delivery if they are to convince stakeholders that AFCM is a credible and sustainable addition rather than an overstretch.