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Nollywood is at a crucial turning point, and the rise of homegrown streaming platforms may be the lifeline the industry has long awaited.
With the recent launch of Kava a new streaming platform created through the partnership between Filmhouse and Inkblot the competition in Nigeria’s streaming space has intensified.
It joins other indigenous players like Circuits, Showmax, Ebonylife Plus, and Iroko TV, all vying to solve the long-standing distribution challenges plaguing Nollywood.
While the arrival of Kava has sparked optimism in some quarters, it has also been met with scepticism. Many Nollywood enthusiasts, including culture journalist Vanessa Ohaha and reviewer IkeGod, fear that the proliferation of local streaming services could lead to oversaturation rather than collaboration, especially given the current economic struggles affecting Nigerians’ purchasing power.
Their concern is valid too many streaming platforms in a market with limited spending capacity could fragment audiences and weaken the industry’s collective growth.
However, beyond the scepticism lies a potential silver lining. The emergence of multiple local platforms could ignite healthy competition something Nollywood has lacked for years.
When Iroko TV first entered the scene, it had no real rivals, which may have stunted its evolution. Competition drives innovation, quality improvement, and better service delivery.
As these platforms strive to justify subscription fees, they are more likely to prioritize quality over quantity, leading to richer storytelling and higher production values.
Moreover, this new competitive landscape could pressure global streamers like Netflix and Prime Video to reengage with the Nigerian market.
Both international giants made early inroads into Nollywood with projects like Far From Home and She Must Be Obeyed, but their momentum has slowed, with Prime Video recently exiting.
If local platforms like Kava and Circuits gain traction, global players may be compelled to reinvest in local originals, pay more for licensing, or increase marketing budgets in Nigeria all of which would benefit the ecosystem.
Perhaps the most critical issue these platforms seek to address is distribution. Many Nollywood titles lose visibility once they leave theatres or complete their Netflix runs.
Without sustainable distribution channels, these films either vanish or end up on YouTube, where monetization is limited and long-term intellectual property (IP) value diminishes.
YouTube releases are often the “final stop” for a film, stripping it of premium status. Controlled, subscription-based streaming, however, allows filmmakers to retain IP value, resell content across territories, and earn through multiple channels such as ticket sales, licensing, and syndication.
A fitting example is Funke Akindele’s Jenifa’s Diary. What began as a modest TV series evolved into a box-office hit (Everybody Loves Jenifa) and remains valuable today. A strong streaming ecosystem ensures more Nigerian creators maintain control over their content, similar to Akindele’s success story.
Ultimately, while concerns of oversaturation are valid, the benefits of competition, investment, and improved IP control outweigh the risks.
If nurtured properly, the streaming wars could usher in a new era of professionalism, better pay, and more opportunities for filmmakers. For Nollywood, the key is to embrace curiosity and innovation rather than cynicism because this streaming battle might just become the industry’s saving grace.
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