Media entrepreneur and EbonyLife Group CEO, Mo Abudu, has dismissed claims that a cinema cabal exists in Nollywood working with cinema owners to block certain films from prime screening slots.
The allegations, which have gained traction on social media in recent weeks, accuse cinemas of removing films from scheduled screenings, replacing them with competing titles, or persuading audiences to switch movies after tickets have already been purchased.
Speaking on ARISE Television, Abudu said cinema scheduling decisions are guided strictly by business realities, audience demand, and return on investment, not sentiment, favouritism, or personal relationships.
According to her, cinema operators must prioritise films that attract viewers in order to cover operational costs and remain profitable.
Veteran actress Omotola Jalade Ekeinde, who appeared on the programme, acknowledged that such complaints have become increasingly common within the Nigerian film industry.
“I have heard these things. Actors themselves have come out to say this has happened to them. There are also fans who corroborate these stories, saying they were convinced to watch a different movie from the one they came to see,” Omotola said.
Responding to the claims, Abudu maintained that such practices do not occur at EbonyLife Cinemas, which she owns.
“I can’t speak for all cinemas, but I can speak for EbonyLife Cinemas. It’s not true. We run a professional business. Our return on investment depends on ensuring that people are sitting in every single cinema,” she said.
Abudu stressed that it would be commercially illogical for cinema operators to deliberately restrict screenings or discourage audiences from watching particular films.
“It is in our interest to ensure that every cinema is full. We have five cinemas and about 30 screenings daily. That’s roughly 900 screenings in a month. There is plenty of space,” she explained.
Addressing complaints about limited access to peak-hour screening slots, Abudu noted that audience behaviour does not always align with filmmakers’ expectations.
“Even if people prefer peak hours and a film gets 50 per cent of that, that still translates to about 450 screenings in a month,” she said.
She further explained that cinema schedules are reviewed weekly based on film performance, adding that cinemas must balance creative considerations with operational expenses such as electricity, air conditioning, and staff salaries.
“When a film has no audience and I’m running air conditioning and paying staff, with only two or three people in a 100-seater cinema, we will have a conversation the following week. That time slot can no longer work,” Abudu said.
She emphasised that such decisions apply equally to all producers, regardless of ownership or influence.
“There is no sentiment to anybody being in the cinema space,” she added.
To reinforce her point, Abudu revealed that a film produced by her daughter, Temidayo Abudu, was removed from cinemas due to poor turnout.
“My daughter had a film in the cinema last year. When it wasn’t performing, we had to move it out. There is no sentiment,” she said.
“This is about return on investment. If I, Mo Abudu, make a film and we can’t fill seats, it will give way to the next film that can.”
Her comments come amid growing tension between Nollywood filmmakers and cinema operators, particularly during December — Nigeria’s busiest cinema season.
During the period, actress Toyin Abraham alleged that cinemas falsely declared her film Oversabi Aunty sold out and assigned it unfavourable screening times.
Filmmaker Niyi Akinmolayan also accused some cinemas of collecting ticket revenue without screening his film Colours of Fire, while actress Ini Edo described her experience as a first-time producer as exhausting, citing what she called “gatekeeping and intimidation” within the cinema distribution system.
