Patrick Lee, a respected figure in the Nollywood industry and a former chairman of the Cinema Exhibitors Association of Nigeria, has addressed the mounting criticism against cinema owners and allegations of bias in film scheduling, sabotage, and unfair practices, aiming to clarify and understand the situation.
December 2024 was a whirlwind of releases for Nollywood filmmakers in cinemas and on YouTube. The cinema-released movies proved to be blockbusters, achieving remarkable box office numbers and showcasing the industry’s potential for growth and success.
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Funke Akindele’s ‘Everybody Loves Jenifa’ grossed over ₦1 billion in 19 days, becoming the fastest Nollywood film to reach this milestone. Its counterparts included Toyin Abraham’s ‘Alakada: Bad & Boujee,’ raking in ₦285.9 million in two weeks, AY Makun’s ‘The Waiter,’ which earned ₦218.6 million in the same period, and Mercy Aigbe’s ‘Thinline,’ which grossed ₦100 million.
However, Mr Lee, making a recent appearance on Nollywood on Radio with Seun Oloketuyi, shed light on why cinemas prioritise certain films over others, using Funke Akindele’s blockbuster Everybody Loves Jenifa as an example.
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The Viva Cinemas and film distribution head of operations explained the dynamics’ rationale: “The first week of a film’s release is crucial in determining its success. Exhibitors prioritise a movie for premium slots if it performs exceptionally in its opening weekend. For example, Funke Akindele’s Everybody Loves Jenifa surpassed ₦100 million in its first weekend, making it a safer bet for exhibitors than newer releases,” Mr Lee noted.
He further explained that geographical factors play a significant role in scheduling decisions.
The film distributor said, “Toyin Abraham’s core market is in the Southwest, particularly in cities like Osogbo, Akure, Ibadan, and Abeokuta. Cinemas in these areas naturally give her films priority. Similarly, AY’s films perform better in the South-South and Southeast regions. Each cinema schedules movies based on its audience demographics.”
However, these scheduling strategies have not been without backlash.
Addressing Allegations
Recently, Nollywood actor Femi Branch accused cinemas of “frustrating the success of certain films”. According to the actor, these movies are “assigned unfavourable time slots.”
He alleged that cinemas deliberately assigned subpar halls (e.g., those without air conditioning) to discourage viewers.
Reacting to the claim, Mr Lee clarified, “The Cinema Exhibitors Association has not received any official complaints regarding these allegations. What we’ve seen are social media posts. Equipment breakdowns can happen, especially during busy periods. Cinemas make commercial decisions to ensure the highest-selling films are shown in the best facilities. While this might have occurred, it is not a deliberate effort to sabotage any movie.”
He added, “In this competitive period, emotions run high, and many statements made do not reflect the industry’s practices.”
Femi also alleged that cinema staff “were persuading customers to choose certain movies over others.”
Mr Lee countered his claim: “In my cinema, staff do not tell customers what movies to watch. However, in the past, before social media, customers often asked for recommendations, and we encouraged our staff to watch movies so they could provide informed suggestions. Now, staff wearing promotional T-shirts for certain movies might give the impression of bias, but these are materials provided by producers and distributors.”
He reiterated, “It is not in any cinema’s interest to dissuade customers from watching a particular film. If your movie is good, customers will choose it, regardless of personal biases.”
Aggrieved producers
Another key point of contention was the relationship between producers and distributors. The interviewer highlighted that some producers alleged unfair treatment and unsatisfactory returns.
Clarifying the role of distributors, Mr Lee said, “Distributors act as intermediaries between producers and cinemas. They evaluate movies for suitability based on quality, sound, storyline, and marketability. If a movie meets the standards, the distributor tries to secure a release that is as wide as possible. However, not all films can guarantee full nationwide coverage.”
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He further addressed the sharing formula, which, according to him, has often been misunderstood.
The Viva Cinemas distributor stated, “The sharing formula is predetermined. Cinemas take a percentage of operational costs, distributors take their share, and the rest goes to the producer. Producers often misunderstand these agreements, especially when they see less-than-expected returns. We encourage producers to work closely with distributors to ensure proper promotion and support.”
Mr Lee urged aggrieved producers to take formal action instead of airing grievances on social media, “We can only act on official complaints. Social media posts do not give us the authority to investigate. If you feel shortchanged, formally bring it to the Cinema Exhibitors Association.”
He further highlighted the complexities of cinema operations and urged better communication among stakeholders to balance commercial demands and build trust.
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