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Yinka Ade-Aluko Calls for Decentralised Cinemas and Lower Ticket Prices

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Yinka Ade-Aluko

Yinka Ade-Aluko cinema reform: Founder urges decentralised cinemas and lower ticket prices to boost access and economic growth in Nollywood

Yinka Ade-Aluko, the founder of Doodle-Film Hub, has called for the decentralisation of cinema infrastructure and the reduction of ticket prices to unlock meaningful economic growth in Nigeria’s film industry.

Also read: “Black Collar” film takes UAE, Nigerian cinemas by storm, praised for compelling story

The comments were made in an analysis of the FilmOne 2025 Box Office Year Book, shared with the News Agency of Nigeria on Sunday in Lagos.

Ade-Aluko noted that while Nollywood is celebrated globally for its creativity, the country’s cinema exhibition model remains expensive, narrow, and largely urban-elite focused.

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“The issue is not talent. It is not storytelling, and it is certainly not audience potential. The real bottleneck is access,” he said.

According to the report, Nigeria’s total cinema box office revenue stands at approximately N16 billion, with just 2.3 million admissions recorded in a year fewer than one in 100 Nigerians.

Ade-Aluko emphasised that this reflects accessibility issues rather than lack of demand, citing high ticket prices averaging around N7,000 and rising to N15,000 in some cinemas.

He also highlighted the imbalance between production and exhibition, noting that while Nigeria produces about 2,000 films annually, only 81 titles reached cinemas during the reporting period.

Foreign films, particularly Hollywood and Bollywood releases, continue to outnumber local productions on screens, limiting diversity and economic returns for local filmmakers.

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With only around 122 cinemas across Nigeria, Ghana, and Liberia combined concentrated mostly in upscale malls and affluent neighbourhoods  Ade-Aluko stressed that suburban, semi-urban, and campus communities remain underserved.

He recommended decentralised, community-driven cinema models, including mobile screenings, campus cinemas, and flexible pricing systems to encourage repeat attendance and broaden cultural reach.

“Excessive revenue concentration increases systemic risk and discourages diversified investment. A healthy entertainment economy distributes opportunity widely,” Ade-Aluko said.

He further noted that strong domestic exhibition infrastructure enhances soft power by amplifying Nigerian cultural narratives internationally.

Also read: After successful London premiere, Aiyefele Movie to screen in all major cinemas across lagos from May 3rd (Photos)

Ade-Aluko concluded: “Nigeria does not lack creative talent, production capacity, or audience appetite. What it lacks is widespread, affordable exhibition infrastructure. The future of Nigerian cinema may depend less on how many films are produced and more on how widely they are seen.”

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Entertainment

Lizzy Anjorin Questions Court Order Over Priscilla Ojo’s Son

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Nollywood actress Lizzy Anjorin has questioned the authenticity of an interim order issued by the Lagos State High Court on 2 September 2026, restraining her from publishing photographs of Priscilla Ojo’s one-year-old son, Rakeem Mkambala, and from posting editorials concerning the family on specified social media platforms.

Anjorin raised the issue during an Instagram Live session on Friday, 4 September, after Priscilla shared a copy of the court order online.

The actress argued that publicising court documents before formally serving the respondent undermines the case.

“Your case na dead on arrival. If you post court letter on any platform before serving person wey you wan go serve, that court case na fake court case,” Anjorin said during the live session.

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Her comments came shortly after the High Court of Lagos State granted an ex parte application brought by Priscilla, her husband, Tanzanian singer Juma Mussa Mkambala, and their son, Rakeem.

Justice Yetunde Adesanya issued the interim order in Suit No. LD/ADR/6646/2026.

The order restrains Anjorin, as well as people acting under her authority, from publishing, posting, circulating, uploading or broadcasting photographs of Rakeem on specified social media platforms, including Instagram, Facebook, WhatsApp and TikTok.

The court also directed Anjorin to cease publishing or broadcasting editorials concerning the applicants on the platforms covered by the order.

An ex parte order is made at an interim stage without the respondent being heard. The order is therefore not a final determination of the dispute and remains subject to further proceedings.

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Priscilla shared the certified copy of the order on her Instagram Story on Friday, bringing the legal development into public view.

Anjorin’s reaction centres on the timing and manner in which the court documents were publicised. Her assertion that such publication makes a case “fake” is her own claim and is not a finding contained in the court order.

The development marks another chapter in the prolonged public dispute between Anjorin and Priscilla’s family, particularly Priscilla’s mother, actress Iyabo Ojo.

The disagreement has played out largely on social media and has previously resulted in legal action, including a ₦1 billion defamation suit filed by Iyabo Ojo against Anjorin.

In recent weeks, the dispute has also drawn Priscilla and her young son into the controversy, following public comments by Anjorin concerning the family.

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BBNaija Kess Says Big Brother Makes Life Harder

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Kesiena Tony Adjekpovu, popularly known as Kess, has said that participating in Big Brother Naija can make life harder, offering a candid reflection on the challenges that may come with the reality television experience.

The former Big Brother Naija housemate made the comment in a statement shared on social media, where he suggested that winning or simply taking part in the reality show does not necessarily make life easier after leaving the house.

“Big Brother makes your life harder,” Kess said.

The remark has drawn attention because life after reality television can bring a different set of expectations, particularly as former housemates adjust to increased public attention and the pressure that can accompany visibility.

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Kess was a housemate on the seventh season of Big Brother Naija, which aired in 2022. He entered the show as a businessman and was among the contestants who competed for the season’s grand prize.

His time on the programme also placed him in the public eye, giving viewers an opportunity to follow his personality and relationships inside the house.

Kess’s latest comment offers a more reflective view of the reality TV platform, suggesting that the experience does not end when a contestant leaves the house.

However, he did not provide further details in the available post explaining which specific aspects of life after Big Brother he was referring to.

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Damilola Oni Suffers Backlash at Mama Deola Movie Premiere

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Damilola Oni

Nigerian actress Damilola Oni has come under heavy fire across social media over her controversial outfit at the star-studded Mama Deola movie premiere (more…)

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