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A recent analysis of Nigeria’s box office performance across the country has highlighted the continued dominance of Lagos, while raising concerns over the absence of South East states from the top revenue-generating list. The study, conducted by entertainment analyst Benneth Nwankwo on February 28, 2026, examined admissions and revenue figures from various states, revealing striking patterns about cinema culture, audience spending, and regional disparities.
Lagos Leads the Nation in Cinema Revenue
As expected, Lagos State emerged as the clear leader, generating ₦7.94 billion, accounting for 50.78 percent of the national box office revenue. The state also recorded approximately 1.28 million admissions, underlining not just the volume of moviegoers but also their spending power. Analysts attribute this dominance to Lagos being Nigeria’s economic and commercial hub, attracting both local audiences and international releases.
“Lagos remains the heartbeat of Nigeria’s entertainment industry. Its high population density, concentration of cinemas, and the middle-to-upper-class audience all contribute to its unmatched box office performance,” Nwankwo noted.
Abuja and Rivers Follow
Abuja came in second place, generating ₦1.15 billion from just five cinemas and recording 198,282 admissions, representing 7.34 percent of the national total. The city’s political significance and relatively affluent middle class are seen as key drivers of cinema attendance.
Rivers State ranked third, with ₦1.04 billion in revenue from eight cinemas and 168,721 admissions, accounting for 6.62 percent of total box office earnings. The state’s active entertainment scene, bolstered by the cultural vibrancy of Port Harcourt, has helped maintain steady cinema attendance.
Other Top Revenue States
Following the top three, Edo State contributed ₦975.2 million with 193,075 admissions, while Oyo State generated ₦869.1 million from eleven cinemas. Delta State earned ₦589.8 million with 107,558 admissions, and Ogun State posted ₦483.4 million from twelve cinemas. Osun State brought in ₦331.5 million from three cinemas, Ondo State earned ₦281.5 million from two cinemas, and Kwara State completed the top ten with ₦183.5 million from two cinemas.
The data clearly illustrates the concentration of cinema revenue in Nigeria’s southwestern and southern states, alongside the Federal Capital Territory.
Striking Absence of South East States
Perhaps the most notable finding is the complete absence of South East states from the top ten list. Neither Enugu, Anambra, Imo, Ebonyi, nor Abia appeared, a surprising development given the region’s historical influence on Nollywood.
“This absence raises several questions about cinema culture and infrastructure in the South East. The region has long been a hub for film production, yet its box office contribution appears minimal,” Nwankwo observed.
Several factors may explain this trend:
• A limited number of functional cinemas capable of generating significant revenue.
• Uneven distribution of cinema locations, making access challenging for large audiences.
• Audience preference for home viewing and digital streaming platforms over theater attendance.
• Economic pressures limiting discretionary spending on cinema outings.
• Cultural patterns and leisure habits that may differ from those in Lagos, Abuja, and other top-performing states.
• Private investment in cinemas may not have matched population density and Nollywood influence.
Implications for Nigeria’s Cinema Industry
The report underscores both the opportunities and challenges for the Nigerian film industry. While Lagos continues to drive national box office revenue, the underrepresentation of regions like the South East suggests untapped potential for cinema growth and audience engagement.
“The data should serve as a call to action for investors and policymakers. Expanding cinema access, promoting local engagement, and addressing regional disparities could help broaden Nigeria’s box office landscape,” Nwankwo concluded.
As the Nigerian entertainment industry continues to grow, understanding regional dynamics will be crucial in shaping strategies for distribution, marketing, and investment. For now, Lagos maintains its position as the nation’s cinema powerhouse, while the South East remains a notable gap in the country’s box office map.
This study not only provides insight into revenue and admissions but also invites a wider discussion on how cinema culture can be more evenly distributed across Nigeria’s diverse regions.
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