In an era where digital disruption is redefining how films are financed, distributed, and consumed, Nollywood actor and producer Deyemi Okanlawon has weighed in on the industry's fast-evolving landscape. His perspective sheds light on a growing movement among Nigerian filmmakers—particularly independents—who are ditching traditional cinema releases and even global streaming platforms in favour of YouTube.
Okanlawon, speaking as a guest on Channels Television’s Rubbin’ Minds, highlighted the economic and structural challenges that continue to plague theatrical releases in Nigeria. He noted that while the glamour of a cinema premiere is tempting, the reality for many producers—especially newcomers—is far less rosy.
“Taking a film to cinema is really difficult for an independent filmmaker, especially if you’re just starting out,” he explained. “There are so many obstacles. You have to deal with gatekeeping, limited showtimes, and marketing demands that can be overwhelming and unaffordable.”
YouTube, he said, offers a more accessible and democratic alternative. With no corporate politics, no need for big-budget marketing campaigns, and instant global reach, the platform is increasingly becoming the go-to for storytellers who want autonomy over their content and audience.
This shift is already visible with filmmakers like Ruth Kadiri, who has carved a massive digital audience with consistently released films on YouTube, as well as established industry names like Kunle Afolayan and Omoni Oboli, who are exploring more direct-to-digital models.
But the move isn't just about visibility—it’s also financial survival.
Okanlawon, whose own cinema release grossed over ₦130 million, revealed that box office numbers can be misleading. After deductions from cinema operators and government taxes, he said producers typically walk away with only about 40 per cent of total ticket sales.
“For me, it didn’t cover my costs,” he admitted candidly.
This financial strain is part of what led the 44-year-old to take a strategic pause in 2019, stepping away from acting to learn the business of film distribution. He joined Silverbird Film Distribution as head of marketing, rising through the ranks to eventually serve as acting CEO in 2021. That hands-on experience, he said, became his version of an MBA in film economics.
His remarks also addressed recent industry conversations around the cooling enthusiasm of streaming giants toward Nigerian original productions. According to him, international platforms entered the Nigerian market with high expectations, hoping to find breakout hits akin to Squid Game or Money Heist. But unmet performance metrics may have led to a pullback.
“They were looking for that massive global hit from Nigeria. While we’ve had strong productions, many didn’t gain the traction expected,” he said.
He also noted the increasing geo-blocking of Nigerian films on streamers—a sign that platforms are now opting for regional licensing over global promotion for certain content categories.
Still, for Okanlawon, the core mission remains the same: telling authentic stories with integrity, regardless of the platform.
“No matter where I find myself—whether it’s a Netflix original, a cinema film, or now on YouTube—I’m going to give my 100%,” he affirmed.
As Nollywood navigates this digital transformation, voices like Okanlawon’s serve as a bridge between the old guard and the next generation. And as audience habits shift, so too must the strategies of those who create for them.