Nollywood’s Return to Local Cinemas and the New Path for Distribution
A Case Study of Femi Adebayo’s Agesinkole 2
For years, the traditional cinema system in Nigeria has leaned heavily toward urban multiplexes, leaving large parts of the population outside major cities without regular access to film exhibitions. This gap shaped audience behaviour, reduced grassroots engagement, and placed a ceiling on box office earnings for many titles. Recent experiments with community-based screenings are beginning to shift this pattern, and Femi Adebayo’s Agesinkole 2 provides a clear picture of what this revival could mean for Nollywood’s distribution future.
Agesinkole 2 adopted a model that placed audiences at the centre. Instead of relying solely on upscale cinema chains, the producers worked with local exhibitors in neighbourhoods across several states. These makeshift community cinemas ranged from school halls to open-air venues. The aim was simple. Bring the film closer to the people who constitute the industry’s largest viewership base.
The outcome demonstrated how much demand exists beyond the city corridors. Over a short release window that covered the Christmas and New Year period, the film recorded remarkable patronage in environments that rarely receive first-run releases. Families and young viewers who would have needed long trips to malls had a chance to take part in the shared excitement of a new Nollywood epic. Ticket sales surged, and the film quickly established itself as one of the holiday season’s strongest commercial performers.
This model speaks to a larger opportunity. Reviving local cinema culture can broaden the distribution network in meaningful ways. Nigeria’s population centres are spread across thousands of communities. A sustainable system that supports small exhibitors, mobile screening units, and refurbished neighbourhood theatres would deepen access, increase revenue streams, and reduce the industry’s overdependence on major cities.
It also creates a healthier loop for filmmakers. Wider reach means stronger word of mouth. Higher foot traffic encourages more robust investment in production quality. Communities gain new cultural touchpoints, and distributors build fresh channels that can serve as testing grounds before titles move to streaming platforms.
Agesinkole 2 has shown that when Nollywood films reach people where they live, the response is immediate and measurable. The renewed interest in local cinema is not only about nostalgia. It is an economic strategy. A vibrant network of neighbourhood screens can help stabilise box office performance, expand audience loyalty, and give the industry the kind of wide footprint needed to compete in a fast-changing global landscape.
If the momentum continues, Nigeria Nollywood Industry could see a restoration of the cinema culture that once thrived in town halls and community centres. The success of Femi Adebayo’s Agesinkole 2 suggests that the road to stronger distribution and higher earnings begins with going back to the grassroots.
I am expecting this approach to shape the next production cycle. With the results recorded by Agesinkole 2, it is likely that more filmmakers will explore similar routes in 2026. Rising production costs and the need for a wider audience reach make the community-focused model an attractive alternative for both independent and established producers. If more titles adopt this pattern, local cinemas could re-emerge as a consistent part of Nollywood’s commercial ecosystem, creating a broader foundation for future growth.
WBY:
Adesina Kasali
Medullar Concept
© January 2026
