Around December 2025, when all Nollywood top filmmakers released their films, Femi Adebayo’s Agesinkole 2: King of Thieves changed part of Nollywood history. The film made about ₦417 million in just 12 days by showing in community cinemas at lower ticket prices, rather than relying mainly on traditional multiplexes. In Lagos, tickets sold for around ₦4,000, while in smaller cities they cost about ₦3,000. This made it easier for audiences often priced out of regular cinemas to attend. This strategy marked the first Nollywood film released primarily through community venues, a model many in the industry now see as an important test in distribution.
The success of Agesinkole 2 prompts a new look at how Nigerian films are distributed and who gets to see them. For decades, Nollywood films have relied on mainstream cinema chains, mainly in big cities like Lagos, Abuja, and Port Harcourt. These chains typically offer higher ticket prices, leaving many people with limited access to theatrical releases. This model represents wider issues in Nigerian cinema that have often excluded many everyday viewers from experiencing films.
In contrast, the community cinema approach used for Agesinkole 2 brought screenings closer to audiences often overlooked by traditional methods. Smaller towns and neighbourhood screening sites hosted showings, turning local halls, cultural centres, and informal venues into shared spaces for watching films. The film’s storyline, rooted in Yoruba epic tradition and local cultural contexts, appealed to grassroots audiences. This mix of local relevance and accessibility created not only viewers but also a sense of community involvement rarely found in larger cinema chains.
The timing of this experiment is significant. In 2025, the Nigerian box office reached a record high of roughly ₦15.6 billion in total revenue, with Nollywood films capturing nearly half of the market for the first time in West Africa’s cinema history. This milestone indicated a major change in audience behavior, showing that local films resonate more with Nigerian viewers. Blockbusters like Behind The Scenes, which has grossed over ₦1.7 billion in typical theatrical windows, demonstrate the ongoing strength of mainstream distribution. However, their success also highlights the divide between major urban audiences and the rest of the country.
Overall, Nollywood audiences have become more diverse in their tastes and expectations. Recent years have seen films like Everybody Loves Jenifa and Alakada Bad & Boujee reach over ₦1 billion, reflecting a demand for culturally grounded comedies and dramas that rule traditional cinema screens. Meanwhile, other Nollywood titles like Makemation, Gingerrr, and Labake Olododo have performed well at the box office, even among crowded release schedules. These numbers show an expanding industry, yet one still influenced by the economics of screen locations, audience attendance, and ticket prices.
This expansion hasn’t been without challenges. Cinema exhibitors and filmmakers have argued over revenue splits, screen allocation, and market access. Some producers claim that cinema chains and distributors take too much of the ticket sales, leaving movie investors with only a small portion of the profits. These disputes highlight the weaknesses of the traditional distribution model, which still struggles to address essential issues of access and ownership within the industry.
Agesinkole 2’s success in community cinemas directly challenges these norms. By bringing the film to audiences in their own towns, this model expanded market reach and lessened the dependence on urban screens. For filmmakers looking beyond Lagos, Abuja, and any other top city, it suggests that distribution can be a creative approach rather than a fixed system. It also raises questions about sustainable pricing, revenue sharing, and how cinema experiences can become truly nationwide rather than city-focused.
Industry observers view the community cinema model as a scalable alternative that needs careful management. Affordable pricing can increase attendance, but can also strain revenue per seat and long-term financial health if strong partnerships and sponsorships do not support it. The model also relies on finding or creating screen spaces in non-traditional venues, which requires coordination, marketing, and often local investment. These challenges are significant but may be manageable for a sector willing to innovate.
For audiences, the appeal is clear. Community cinema brings films to neighborhoods where people can come together, socialize, and connect over stories that resonate culturally. In many towns, watching a Nollywood film locally becomes more than just entertainment; it turns into a community event that strengthens cultural ties and shared identity. This stands in stark contrast to the more transactional experience of a multiplex, where films are part of a larger global catalog and are often expensive.
What Agesinkole 2 indicates about Nollywood’s future is twofold. First, it shows that audiences want access and inclusion, not just high production values or star power. Second, it suggests that distribution strategies can be understood as a form of creative production, shaping how stories are perceived, experienced, and valued. If Nollywood aims to sustain its growth and deepen its cultural impact, the industry may need to invest in new distribution strategies that go beyond multiplexes and recognize the community as a central audience.
Ultimately, the big takeaway from Agesinkole 2 is that cinema isn’t just a product; it is a space for participation. The films that will succeed broadly are those that engage people where they are, not just where screens exist. In that sense, Nollywood’s distribution methods are shifting not because they have to, but because audiences across Nigeria are ready for cinema that belongs to everyone.
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