Media entrepreneur Mo Abudu has dismissed allegations that a group within Nollywood is collaborating with cinema owners to limit screening opportunities for certain films, describing the claims as unfounded.
Speaking during a discussion on ARISE TV, Abudu said cinema operations are guided strictly by commercial considerations, audience turnout, and sustainability, not personal relationships or preferential treatment.
The conversation followed growing complaints within the industry about alleged unfair screening practices. Veteran actress Omotola Jalade-Ekeinde, who also appeared on the programme, acknowledged that such concerns have become more common among actors and film fans.
Omotola noted that several actors have publicly claimed their films were affected by such practices, while some moviegoers have alleged they were persuaded to watch different films than the ones they initially intended to see.
In response, Abudu said the idea that cinemas would deliberately discourage audiences or restrict screenings defies basic business logic. She explained that cinemas rely on ticket sales to remain profitable and have no incentive to keep seats empty.
Using EbonyLife Cinemas— which she owns — as a case study, Abudu said the company’s priority is to maximise occupancy across its screening halls. According to her, the cinema runs about 30 screenings daily across five locations, amounting to roughly 900 screenings each month.
She explained that screening schedules are reviewed regularly and adjusted based on performance. Factors such as electricity costs, staffing, and operational expenses make it unsustainable to retain time slots for films that fail to attract audiences.
Abudu added that decisions are applied uniformly, regardless of who produced the film. To underscore her point, she revealed that a movie produced by her daughter, Temidayo Abudu, was withdrawn from cinemas after recording low turnout.
“There is no sentiment in the cinema business,” she said, stressing that any film, regardless of ownership, will be replaced if it cannot fill seats.
Addressing concerns about access to peak-time slots, Abudu noted that even partial access to high-demand periods still provides significant screening opportunities. However, she said continued low attendance inevitably leads to difficult but necessary conversations with producers.
Her comments come amid heightened tension between filmmakers and cinema operators, as debates continue over transparency, access, and fairness in Nigeria’s film exhibition space.
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