Op-Ed: Nollywood Embraces YouTube as New Distribution Channel
Top industry names like Kunle Afolayan and Omoni Oboli show how YouTube can give Nigerian films new life and unprecedented viewership.
Signage at the opening night of the new play "Nollywood Dreams" at The Robert W. Wilson MCC Theater, New York.
Since YouTube launched in Nigeria in 2011, the platform has become deeply embedded in the country's cultural fabric. Initially viewed primarily as a space for personal expression and music videos, YouTube has evolved into something far more significant for Nigeria's film industry.
In its early days, platforms like IrokoTV used YouTube to republish classic Nollywood films, while vlog-style content and short documentaries defined the platform's character. However, in recent years, Nigerian filmmakers have recognized YouTube's potential as an alternative distribution channel that can reach audiences quickly without the barriers of subscription fees or limited cinema locations.
Actor-turned-producer Ruth Kadiri can be credited for pioneering Nollywood's shift from traditional film distribution to YouTube. On her channel, Ruth Kadiri 247, she has built what effectively functions as a mini-streaming service, attracting approximately 2.85 million subscribers. Her original feature-length films consistently average one million views across genres ranging from romance to comedy, thrillers to epic narratives.
Following Kadiri's success, other industry luminaries have embraced the platform: Actress Ini Edo started her channel. Destiny Etiko's latest video accumulated one million views in just three days. Director Kunle Afolayan, known for his boundary-pushing, cinema-friendly films, launched KAP Stream, where he has released acclaimed works like The CEO and Phone Swap.
In an interview with Channel TV, Afolayan explained that when The CEO—a suspense-filled, pan-African corporate drama—was initially released, distribution opportunities were limited in other African countries, restricting its reach. By making the film available on YouTube, it can take on a new life and achieve the widespread attention it deserves.
The platform's impact was recently highlighted when actor and producer Omoni Oboli, best known for The Figurine and her self-produced Wives On Strike franchise, released a romantic comedy on her YouTube channel. Love In Every Word garnered one million views in less than a day and reached 10 million views within six days, earning glowing reviews for its syrupy, simple but deeply affecting story of love and hope. This achievement, which sparked conversations across social media platforms like X, demonstrated YouTube's power. Had Love In Every Word been released in cinemas or on a subscription service, expensive ticket prices or subscription fees would have likely limited its reach.
As legacy streaming platformsscale back investment in original content, the success of these YouTube releases points to a significantly underserved market that demands greater attention. Releasing an original film on YouTube is often perceived as less prestigious than theatrical or streaming service debuts. However, this perspective fails to consider market realities. With 38.9 percent of Nigerians living below the poverty line, YouTube—requiring only internet access—provides a sensible alternative in a country where participating in cinema culture has become increasingly expensive.
Recent developments underscore this economic reality:Cinema ticket prices increased last year asNigeria's economy struggled. Netflix raised subscription fees by 40 percent in 2024. Netflix has only 169,000 subscribers in Nigeria—a tiny fraction of the population. By contrast, YouTube users in Nigeria are projected to reach 11.99 million by the end of 2025
Traditional cinemas and streaming platforms certainly have their place. Their substantial budgets and diverse distribution methods remain essential for delivering quality content. However, these approaches must coexist in markets like Nigeria with more accessible and affordable services. Filmmakers and the industry need to prioritize access rather than exclusivity—a goal that can be achieved without compromising quality.
While YouTube films often face criticism for subpar quality and storytelling (sometimes justifiably), their popularity and accessibility call for increased investment rather than dismissal. Filmmakers creating content for YouTube typically earn between$1,000 and $10,000—often a great return on investment for movies made on paltry budgets.
However, the vision could be more ambitious, and the means to generate revenue can be more creative. This would require rethinking YouTube as a legitimate platform for quality content. By making the platform a destination for well-developed stories, not just low-budget productions, filmmakers could expand their appeal to global audiences and unlock bigger opportunities.
The Nollywood industry now has an opportunity to recapture the magic of its CD/cassette era—characterized by mass production and widespread access—without the pitfalls of piracy and restrictive distribution. It's time to reimagine the existing model,shifting focus from cheaply produced content to intentional partnerships and new revenue streams that serve their core audience.
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