Veteran Nollywood actress and filmmaker, Omotola Jalade-Ekeinde, has responded powerfully to a recent industry-wide wake-up call issued by legendary filmmaker and director Lancelot Imasuen, as he marked his 30th anniversary in the Nigerian film industry.
Imasuen, known for the classic film Issakaba, used the milestone to urge veteran Nollywood stars such as Omotola Jalade-Ekeinde, Genevieve Nnaji, Jim Iyke, and Emeka Ike to reconnect with the industry that catapulted them into fame. He expressed concerns that these stars, though celebrated globally, have seemingly “outgrown and abandoned” Nollywood at a time when their presence and support are most needed.
Reacting via Instagram, Omotola acknowledged Imasuen’s contribution to Nollywood and seized the opportunity to share her own truth about the state of the industry.
“Let me start by congratulating the Legend! The great king of ‘Issakaba’ Lancelot Imasuen on his 30th anniversary,” Omotola wrote.
She also revealed that she, too, is celebrating three decades in the entertainment industry, a milestone she plans to stretch till 2026, marking her journey with subtle reflections and new projects.
In her candid post, the screen goddess revealed the harsh economic deductions that cripple filmmakers, using her own experience as a producer to outline just how little is left for creators after cinema runs and government levies are deducted:
- Cinema Exhibitors: 50%
- Value Added Tax (VAT): 7.5%
- Entertainment Tax: 5%
- Withholding Tax (Nigeria): 10%
- Withholding Tax (Ghana & Liberia): 15% each
- Distributor’s Fee: 15%
- VAT on Distributor’s Fee: 7.5%
- PnA (Publicity & Advertising): 20% of the movie budget
With a minimum movie budget often hitting ₦150 million, Omotola questioned how any producer is expected to recoup such an investment given these steep deductions.
“Now tell me, after a movie producer invests so much money… what possibly could they have left? Or if they can ever recoup their investment?” she asked.
When a follower queried how filmmakers even raise the funds to make movies, Omotola’s reply painted an even bleaker picture:
“Except there are other ways, it’s mostly personal funds (some sell items), loans, goodwill from family and friends, resources from other businesses.”
Her revelations opened the floodgates of industry concerns that many stakeholders have quietly endured for years. The actress hinted she might begin to speak out more frequently about issues affecting Nollywood behind the scenes.
This powerful exchange between two of Nollywood’s heavyweights underscores a growing need for structural reforms, transparent policies, and sustainable financing models for the Nigerian film industry to thrive long term.
This story serves not just as a moment of reflection, but a loud call to action for both government and industry leaders to reassess the sustainability of Nollywood, a cultural powerhouse that continues to define African storytelling on the global stage.
