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Nollywood: Experts Identify Burning Issues at Roundtable

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The Goethe-Institut Nigeria and Communicating for Change (CFC) recently held a roundtable event on the Nigerian film industry, looking at the issues affecting its future, as well as the progress that has been made.    
The roundtable touched upon piracy, funding and distribution – all factors that have combined to produce a lull in Nigerian film production. Suggestions to strengthen the industry were also considered, with calls for more capacity building and financial investment.

The survival of Nollywood is of paramount importance as the industry not only plays an important economic role in creating employment and generating income, but also plays an important cultural role, helping to re-brand Nigeria’s tainted ‘419’ image abroad, replacing it with creativity and culture.

“Over the last five years, I’ve noticed that people are producing less films due to a fear of piracy and a lack of understanding of the new distribution framework,” said Peace Anyiam-Osigwe, an established filmmaker and founder of the annual African Movie Academy Awards (Amaa). “But more positively there’s been an improvement in the quality of films, with more Nigerian films being accepted at international film festivals.” 

“Nollywood might not be here in a year due to piracy,” said Teco Benson, a film director and CEO of TFP Studios. “People can hawk films freely on the street, the fines are minimal and the NCC doesn’t have enough bite. Nollywood is the hope of this country; we need the support of government to protect intellectual property rights.”

Providing the government’s response to piracy, Emeka Ogbonna, zonal manager, Nigerian Copyright Commission (NCC) said: ‘Despite our insufficient funding, locally a lot has been done to regulate the production of DVDs; we have introduced regulation, minimum standards for NCC officers and undertake night time inspections of suspected piracy plants.”

“The fundamental problem is that of distribution,” said Madu Chikwendu, producer/director, and the organiser of the Lagos International Film Festival. “Outside of Nigeria, there is a huge demand for our films, and to meet this demand, our films are distributed illegitimately, resulting in a huge loss of revenue for the industry, which leads to a corresponding loss in quality. You can’t talk of quality control when people can’t afford to eat.”

John Okonkwo, Goodlife Production Ltd, based in Alaba market, spoke of the need to include all elements of the industry in distribution reforms. “Many of the main film distributors are not educated and find it difficult to relate to those that use ‘big grammar.’ It’s a big barrier and more needs to be done to carry these people along.”

“Banks and financiers are motivated by profit. They don’t want their money to go in one direction; they need to know that their money will get back to them, with a return,” said  Yewande Sadiku, head of Corporate Finance, Stanbic IBTC Bank Plc, addressing the difficulties of filmmakers in obtaining funding.

Chike Ofili, a poet, screenwriter and researcher of Nollywood, said: “The guilds need to represent the industry and be a place for dialogue, a place for scriptwriters and producers to meet and critique their work. When mental infrastructure has been built, other things can follow.”

Similarly, Jahman Anikulapo, a notable Nigerian art critic and editor of The Guardian on Sunday newspaper highlighted his disappointments regarding the industries priorities. “Instead of celebrating individuals and short term successes, the industry needs to take a long term view, by building lasting structures that will improve Nollywood,” he said. 

“Despite its challenges, Nollywood is developing,” said Sandra Mbanefo Obigao, executive director, CFC, who chaired the roundtable. “CFC is committed to using its unique position, as a producer of development films and a champion of the creative industries, to encourage stronger links between the creative and commercial sectors as well as between film and Nigeria’s rich and well developed art and literary scene.”

 

 


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NCC Blocks Piracy Sites as Nollywood Faces Rising Digital Theft

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Nigerian Copyright Commission (NCC) has called for urgent adoption of advanced digital protections after blocking seven piracy sites amid escalating online threats to Nollywood content.

NCC Blocks Piracy Sites as Nollywood Faces Rising Digital Theft

The call was made during a webinar hosted by Greychapel Legal titled “Clicks, Streams, and Copyright: Who Owns Nollywood’s Digital Future?”, which brought together filmmakers, regulators, entertainment lawyers and media strategists to examine how content ownership and copyright enforcement are being reshaped by the digital age.

Lynda Alphaeus, director and head of the NCC Lagos Office, said the Commission has intensified its efforts to combat piracy across digital channels and is upgrading its operations to meet emerging threats.

According to her, Nigeria’s new Copyright Act was deliberately updated to strengthen creators’ rights amid the explosion of online distribution.

“NCC has worked, and is still working tirelessly to adapt Nigeria’s legal framework to cope with digital distribution challenges. We now have the power to block networks publishing illegal content, and we have already blocked seven websites distributing pirated Nigerian works,” Alphaeus said.

She revealed that the Commission has established a special taskforce known as the STOP Unit to coordinate anti-piracy operations online, alongside new awareness campaigns targeting local markets and schools to educate content creators and the public on copyright obligations.

Alphaeus urged filmmakers and producers to take ownership of their digital safety by deploying available technological protections to safeguard their intellectual property.

She explained that tools such as encryption help prevent unauthorised copying, blockchain technology offers immutable proof of ownership, digital watermarking allows creators to trace illegal uploads, while cloud security and regular offline backups protect creative files before they reach the market.

While noting that copyright in Nigeria does not legally require registration, she stressed that registering one’s work strengthens protection and provides legal presumptions that can be vital in enforcement.

“Whatever you register is presumed to be yours until proven otherwise,” she said, urging creators to invest in copyright knowledge as part of their business strategy.

Other speakers at the webinar reinforced the urgency of protecting Nollywood’s digital assets.

James Omokwe, film director, noted that while streaming platforms have created unprecedented opportunities for visibility and monetisation, they have also opened new vectors for intellectual property theft and unauthorised redistribution.

Solafunmi Laelle, media strategist,  added that audience data, which streaming platforms rely heavily on, will increasingly determine leverage and value in film licensing negotiations.

According to her, creators who lose control of their intellectual property, whether through piracy or unfavourable contracts, also lose access to valuable data that could shape their long-term earnings.

Nky Ofeimun, entertainment lawyer, emphasised the need for creators to understand the contractual implications of ownership, platform exclusivity, and reversion rights.

She noted that many filmmakers still underestimate how quickly digital copies can be illegally duplicated or uploaded once control is lost.

The panelists agreed that as Nollywood deepens its digital footprint, piracy will continue to evolve and become more sophisticated.

They stressed that the industry must respond with equally sophisticated tools, stronger contract negotiation, and improved education around copyright.


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Four Must-Watch African Films Debut Free on Glo TV

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Globacom, just introduced four brand new movies on its premium entertainment platform, Glo TV, and they are completely free for all subscribers. The company says the release marks another major step in its mission to enrich digital entertainment for millions of viewers across the country.

In a statement from Lagos on Wednesday, Globacom explained that the new titles feature some of Africa’s most celebrated actors and filmmakers, offering a colorful mix of romance, comedy, drama, culture, and emotional storytelling. The lineup includes Johnny Just Come (JJC), Eko Vibes, Bound, and Shifting Desire.

“Each of these movies was chosen to spotlight diverse African stories while delivering world class entertainment unavailable in cinemas, on YouTube, or on any other streaming service. Viewers do not need any subscription or extra payment. Access is completely free,” the company said.

Leading the pack is Shifting Desire, featuring Lilian Afegbai and veteran actor Majid Michel. The film is a gripping romantic drama that dives into marriage, intimacy, betrayal, healing, and the emotional journey of a couple using therapy to rebuild trust. Shifting Desire premiered on Glo TV on December 2 and is already streaming for free.

Johnny Just Come (JJC), starring Patience Ozokwor and Nancy Isime, delivers a hilarious cultural crossover story about an American man trying to navigate love and marriage in an African household. The movie explores themes of identity, family, culture, and coexistence in a warm and relatable way.

The third title, Bound, starring Rita Dominic and Eyinna Nwigwe, is a thought-provoking family drama that follows a successful career woman confronting long hidden personal struggles and the impact on her relationship. The film showcases powerful performances from some of Nollywood’s finest.

Rounding out the collection is Eko Vibes, featuring Broda Shaggi, Josh2Funny, and Nkechi Blessing. The movie captures the energy and hustle of Lagos youth culture, spotlighting ambition, humor, and the vibrant spirit of young people chasing success in the city.

Globacom noted that the new releases reinforce its commitment to delivering original African content at the highest quality. “With these exclusive titles, Glo TV is redefining digital entertainment in Nigeria by offering fresh, premium movies not available anywhere else. We remain committed to growing our catalog with rich African stories that celebrate creativity at its best,” the company added.


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Young Africans Hit Hardest by Online Gender Violence, Paradigm Initiative Reports

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A new study, conducted by pan-African organisation, Paradigm Initiative (PIN), warns of an alarming surge in the prevalence of Technology-Facilitated Gender-Based violence, with 67 percent of respondents being victims of at least one or multiple forms of digital violence.

Young Africans Hit Hardest by Online Gender Violence, Paradigm Initiative Reports

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Released on International Human Rights Day, the research exposes deep systemic failures, weak accountability, and unsafe online spaces driving a rapidly escalating epidemic across Cameroon, Kenya, Nigeria, Senegal, Zambia, and Zimbabwe.

PIN recognises that this gap limits both the understanding of TFGBV and the development of effective solutions. In response, this study adopts a survivor-centred approach that reframes how TFGBV is researched, discussed, and addressed. By prioritising survivors’ perspectives, the research uncovers the emotional, social, and systemic dimensions of digital violence that formal reports and statistics often obscure. It also interrogates how survivors navigate reporting systems, access justice, and play an informed role in digital spaces that are frequently hostile or unsafe.

A key finding of the study is that young people are disproportionately affected, with those aged 18–34 constituting the vast majority of survivors. Most incidents of TFGBV occurred on Facebook, WhatsApp, and X (formerly Twitter), underscoring how mainstream social media platforms continue to function as structurally unsafe spaces for many users—particularly women, activists, and advocates.

“Victims’ experiences range from sexual harassment, threats, and misogynistic attacks to severe violations such as stalking, non-consensual image sharing, hacking, sextortion, and identity-based harassment,” the report notes. “Personal testimonies reveal profound emotional, psychological, and reputational harm.”

The study also highlights that formal systems such as the police, employers, and public institutions, remain underutilised, largely due to fear, mistrust, or an expectation of inaction. While the findings expose wide-ranging gaps across platforms, institutions, and legal frameworks, they also highlight survivors’ resilience and their continued efforts to seek safer digital environments.

In light of these findings, PIN calls for urgent action to make online spaces safer for everyone, in line with this year’s Human Rights Day theme, “Human Rights, our everyday essentials.” Addressing these systemic gaps is critical to advancing democratic engagement, promoting media pluralism, fostering digital inclusion, and achieving gender equality across Africa.


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