The Real Nollywood Hustle: Why Finishing a Film Is Easy but Making Money Is the Hard Part
In Nollywood, wrapping a movie shoot may feel like a major milestone, but it’s really just the beginning. The real challenge starts when the lights come on — and the race to make money begins.
Behind the glitz of red-carpet premieres and social media buzz lies a tougher story of survival, where producers chase viral attention and distributors fight to fill cinema seats. In this high-stakes world, strategy, timing, and audience taste often determine whether a film becomes a hit or a heartbreak.
Few people understand this better than Victoria Ogar, Head of Distribution at FilmOne Entertainment, one of Nigeria’s biggest film distribution companies. In a recent conversation, she shared rare insight into how films are chosen for cinema, why some never break even, and what really makes a film sell.
When a Film Goes Viral, the Rules Change
For many filmmakers, seeing their trailer or clips go viral online feels like the dream. But Ogar warns that virality doesn’t automatically translate into revenue.
“When a film goes viral, it usually means the film has already been released,” she explained. “For us to handle that project, it means we’re already the distributors. You can’t pick up a film you don’t have rights to.”
She also pointed out a key distinction between marketing hype and actual release buzz.
“If a film hasn’t been released and it’s going viral from promotion, that’s a different conversation,” she said. “But once it’s out, it’s already under distribution, and whoever owns that right controls what happens next.”
In other words, a viral film doesn’t automatically find new life at the box office — it all depends on who owns the rights and how distribution has been structured.
How FilmOne Decides Which Films to Take On
For many filmmakers, landing a FilmOne distribution deal is the ultimate goal — but it’s far from guaranteed. According to Ogar, FilmOne receives a flood of submissions every year, yet only a select few make it to the cinema.
“We start with a preview copy,” she said. “We look out for certain criteria — first, the story. Does it have strength? Are the actors commercial enough? Is the duration good for cinema showtimes?”
One surprising factor that can make or break a film’s cinema run is duration.
“The longer your film, the fewer showtimes you get,” she explained. “In a crowded market where multiple films are competing for limited screens, duration matters. We always advise keeping Nollywood films under 90 minutes, or at most one hour 45 minutes. Anything beyond two hours becomes a stretch.”
Why Some Good Films Don’t Sell
Even when a film is beautifully written or technically impressive, it might still fail to draw audiences. Ogar attributes this to a mismatch between creative vision and market demand.
“Some good films can’t sell,” she said plainly. “They don’t speak to the cinema audience. The cinema crowd likes something spicy, exciting, and fun. If your film doesn’t connect to that energy, it’s hard to recover your production cost.”
This is where many filmmakers struggle — balancing artistic expression with commercial appeal. In a market where box office revenue is key to survival, creative brilliance alone isn’t enough.
Beyond Passion: The Business of Nollywood
Ogar’s reflections reveal an uncomfortable truth about Nollywood — finishing a film is only half the battle. To truly succeed, filmmakers must think like entrepreneurs, understanding distribution, audience behavior, and market timing.
From runtime to casting, marketing to genre selection, every detail counts in determining whether a film becomes a blockbuster or fades into obscurity.
As Ogar put it, “You can make the most beautiful film in the world, but if it doesn’t fit the cinema market, it won’t perform.”