The structural instabilities and inequalities within the industry need to be addressed. On the matter of addressing such instabilities, Tetteh told me that access to stable electricity remains a pressing production issue in the Nigerian film industry. Lack of stable electricity in Nigeria transcends the creative industry and widely affects the country. The impacts are profound as it stifles productivity, hinders work across various sectors, and slows economic progress.

Orimogunje also pointed to the need for structure to ensure that projects are conceived for execution while optimizing for quality, coupled with a deep understanding of why the story is being made into film. Additionally, he highlighted the need for structure to facilitate better local distribution and protect below-the-line crew and actors from being treated unfairly. Tetteh recalls the horror she felt upon hearing the salaries of a makeup set on a film production. This feeds into the quality of production, she argued: ‘It [corruption] will show in your camera crew and the entire production.’

Poor film quality is a criticism that has a long-standing existence in Nollywood. It has almost become an inside joke for Nigerians who often post compilation videos of old Nollywood movies with poor sound quality and over dramatic graphic effects. But since then, the industry has come a long way, and it remains vital for filmmakers to commit to delivering quality in their production to grow their audience potential and uphold the integrity of the industry. Filmmakers like Odeh are already going the extra mile through knowledge exchange, which can help emerging Nigerian filmmakers produce quality content. He released a book titled Before You Say Action!: An Indie Filmmaker’s Handbook in May 2024. Reflecting on the release, he told me that, ‘I am trying to inspire the next generation of filmmakers to know the power and art of visual interpretation and narration.’

Every filmmaker I spoke to echoed and resonated with Afolayan’s emphasis on the need to invest in robust local distribution systems. Despite their many benefits, relying too heavily on international streaming platforms like YouTube, Amazon Prime, and Netflix comes with risks. ‘You can’t put your entire industry on a platform that you don’t have a stake in,’ Odeh told me. Just like the recent, yet brief ban of TikTok in the United States of America, which forced influencers to focus on growing their following on other platforms, external streaming giants can always make policy changes that could affect Nigerian creatives. It is essential for the country to embody foresight and tackle potential issues early on. ‘We need to think of the bigger picture. The smaller picture will feed you today, but the bigger picture will feed you forever,’ Odeh continued. In addition to this, Nigeria has an enormous film market with films being made every day. With a large number of film lovers, filmmakers, and film productions in the country, more cinemas and streaming platforms are needed to cater to the industry’s massive output. ‘How can you have this enormous market and not have the channel?’ Odeh asked rhetorically with visible concern. For Orimogunje, it is crucial to invest in local cinema and distribution platforms while avoiding falling into the pit hole of discarding quality. It is essential for an investment in local distribution to occur in tandem with a commitment to quality.

To combat overreliance on streaming services like Netflix, some filmmakers are pointing to alternative means of distribution beyond local services. This is common practice for Orimogunje, who only considers Netflix to enable local audiences to watch his films. For him, his main route to distribution is through attending international film festivals to secure global distribution. ‘At international film festivals, there are thousands of distributors who distribute films globally and are usually looking for new stories and unique voices. I have had the privilege of getting my projects distributed internationally,’ he told me.

Other filmmakers like Adebayo Salami are using African streaming platforms like Circuits TV to expand their audience reach. Salami specifically encouraged diasporans to watch his latest Netflix release, Seven Doors, on Circuits TV. Both Salami and Orimogunje’s Netflix movies are only available on Netflix Africa, which prevents access to diasporans. However, challenges remain with a platform like Circuits TV, given its policy requiring customers to rent movies individually without a monthly subscription option. Customers have complained about this, with some labelling it a rip-off. Another commented, ‘I don’t like how this Circuits TV works. Why can’t I subscribe like Netflix or Prime or Disney or [even] Showmax[?] Why do I have to rent one movie for £8?’

‘Film requires a patient investment in time, money, and energy,’ Odeh told me. Quality filmmaking requires time, precision, and grit—whether it is honing one’s craft, making a risky investment, or implementing measures to maintain a sustainable industry where creatives can thrive. It is a challenge for the government, investors, industry stakeholders, and consumers to play their part in ensuring Nigeria’s vast creative film industry stands firm and vibrant, irrespective of whether global streaming giants choose to stay or leave. Perhaps, it is a big ask, but everyone has a part to play⎈