Why Nollywood Yoruba Filmmakers Are Taking Over The Nigeria’s Film Industry

Chude Jideonwo Reveals Why Nollywood Yoruba Filmmakers Are Taking Over The Nigeria’s Film Industry

Media personality Chude Jideonwo recently stirred up conversation with a bold claim about Nigeria’s film industry. According to Jideonwo, the country’s biggest and most influential filmmakers today are predominantly from the Yoruba ethnic group. This statement, which he shared on Instagram, ignited discussions about the current dominance of Yoruba filmmakers in Nollywood and the larger Nigerian entertainment space.

Jideonwo didn’t stop at making a broad statement—he backed it up by naming some of the biggest names in the industry, all of whom hail from the Yoruba ethnic group. Among those he mentioned were heavyweights like Toyin Abraham, Kemi Adetiba, Funke Akindele, Mo Abudu, Kunle Afolayan, and Femi Adebayo. These are figures whose works have not only gained national recognition but have also made a significant impact on the international scene.

In his post, Jideonwo emphasized the global reach of Yoruba films. He pointed out that many of these movies have found their way onto major streaming platforms like Netflix and Amazon, further cementing their influence and reach. He contrasted this with films made in other Nigerian languages, particularly Hausa and Igbo, which he argued are largely absent from these platforms.

Jideonwo stated, “The biggest filmmakers in Nigeria now are all Yorubas. Think about it: Kemi Adetiba, Jade Osiberu, Mo Abudu, Kunle Afolayan, Kayode Kasum, Toyin Abraham, Funke Akindele, Mercy Aigbe, and Oga Bello’s son that do every movie, including ‘Beast of Two Worlds’ and ‘Jagun Jagun’—and Bolanle Austin-Peters.”

This list represents a wide array of talent, from those who have achieved success in mainstream cinema to others who have left an indelible mark on the streaming landscape. Kunle Afolayan, for example, has become a household name with films like Anikulapo and Citation, both of which were widely praised and gained international attention. Similarly, Funke Akindele, known for her comedic prowess, has evolved into a powerhouse producer with blockbuster films like Omo Ghetto: The Saga.

Jideonwo went on to highlight the widespread presence of Yoruba films on platforms such as Netflix and Amazon, stressing that these filmmakers have successfully crossed cultural boundaries. He remarked, “Most of the mainstream, big cinema, and streaming movies are all by Yoruba people. The Yoruba filming culture has merged itself into the other groups that are leading again.”

This cultural merging, as Jideonwo describes it, refers to how Yoruba filmmakers have not only maintained their distinct identity but have also created films that appeal to a broader Nigerian and global audience. By doing so, they’ve managed to dominate the industry in ways that other ethnic groups have yet to replicate on such a large scale.

He then posed a thought-provoking question to his audience: “Can you name one Hausa or Igbo-language movie on Netflix or Amazon?” This question underscored his point about the underrepresentation of other ethnic films on these major platforms. Jideonwo acknowledged Genevieve Nnaji’s Lionheart, an Igbo-language film that garnered attention on Netflix, but he noted that it remains one of the few exceptions. According to him, Yoruba filmmakers have managed to carve out a space on these platforms that films from other Nigerian languages are struggling to access.

The success of Yoruba filmmakers, according to Jideonwo, is not just about their talent or the quality of their films, though those are undeniable factors. It’s also about their ability to tap into a global market and create films that resonate with audiences far beyond Nigeria’s borders. Their films, often steeped in Yoruba culture and language, somehow find a universal appeal that transcends cultural boundaries.

Take, for example, Kemi Adetiba’s King of Boys, a gritty political thriller that captivated Nigerian audiences and gained widespread acclaim internationally. The film’s success speaks to the power of Yoruba filmmakers to tell stories that are both deeply rooted in their culture yet accessible to a global audience.

Similarly, Mo Abudu’s influence as a filmmaker and media mogul cannot be overstated. With projects like The Wedding Party and Oloture, she has consistently pushed the boundaries of Nigerian cinema, bringing Yoruba culture to the forefront while addressing universal themes like love, power, and social justice.

The dominance of Yoruba filmmakers also extends to the realm of TV series, with shows like Jenifa’s Diary and King of Boys: The Return of the King gaining significant traction on streaming platforms. These shows not only showcase the creativity of Yoruba filmmakers but also highlight their ability to create content that appeals to a broad audience.

But what does this mean for the future of Nigerian cinema? Jideonwo’s comments have sparked debates about the underrepresentation of films from other ethnic groups, particularly Hausa and Igbo. While Yoruba filmmakers continue to thrive, it raises questions about the barriers preventing other ethnic films from achieving similar success on a global scale. Is it a matter of access to funding? Or perhaps the challenges lie in distribution and marketing?

One thing is clear: the conversation around ethnic representation in Nollywood is far from over. As Yoruba filmmakers continue to dominate the scene, there’s hope that filmmakers from other Nigerian ethnic groups will also find their footing on the global stage. The success of Lionheart shows that there is potential for films in other Nigerian languages to reach international audiences, but it will require a concerted effort from filmmakers, producers, and investors alike.

Ultimately, Jideonwo’s statement about the dominance of Yoruba filmmakers in Nigeria is both a celebration of their success and a call to action for greater inclusivity in the industry. As the conversation continues to evolve, it’s important to acknowledge the contributions of all Nigerian filmmakers, while also addressing the challenges that may be holding others back from achieving the same level of recognition.

For now, the spotlight remains firmly on Yoruba filmmakers, whose works continue to shape the narrative of Nigerian cinema on the global stage. From blockbuster films to critically acclaimed TV shows, they are leading the charge and setting the standard for what Nollywood can achieve. But as more voices join the conversation, the hope is that Nigerian cinema, in all its diversity, will continue to grow and thrive in the years to come.