Veteran Nollywood actor Roy De Nani has revealed a series of deeply personal struggles, shedding light on both his career setbacks and heartbreaking family losses.
Speaking during an appearance on the Where is the lie podcast, the actor alleged that he was at one point sidelined within the industry under what he described as an unofficial ban that severely affected his career.
“A man gave an order that nobody should give Roy De Nani a job again,” he said. “For years, even when I was already recording, a producer would come in and say, ‘No, cancel it. Stop.’”
Alleged Industry Blacklisting
De Nani’s claims point to a difficult period in his professional life, where opportunities reportedly disappeared without explanation. According to him, even confirmed roles were abruptly withdrawn, leaving him struggling to maintain his presence in Nollywood.
While he did not name any individual responsible, the actor’s account highlights concerns about informal power structures and decision-making within the Nigerian film industry.
Grief Without Support
Beyond his career challenges, De Nani also spoke about moments of personal grief that he says were met with silence from colleagues.
Recalling the death of his brother, he expressed disappointment at the lack of support from within Nollywood.
“I have a brother from the same father. When he died, not a single actor or actress showed up,” he said.
Tragic Loss of His Children
In what he described as the most painful chapter of his life, the actor revealed that he lost both his son and daughter due to a lack of funds for critical medical care.
According to De Nani, his children were living with Sickle Cell Disorder and depended on regular blood transfusions to survive. However, financial constraints made it impossible to continue their treatment.
“I lost my son, I lost my daughter because they needed blood transfusion so they could continue living, but there was no money to buy the blood, and they died,” he said.
Reflections on Nollywood’s Response
The actor noted that, despite his years in the industry, he did not receive assistance from colleagues during these difficult times. However, he stopped short of outright condemnation, offering a more measured perspective.
“Nollywood never came to assist me. Not that they don’t care, but they have not been touched. Let it be said that way,” he added.
De Nani’s revelations provide a sobering look at the challenges faced by some industry veterans—raising broader questions about support systems, welfare, and solidarity within Nollywood.