Femi Adebayo’s forthcoming release, Ageshinkole 2, is being positioned as more than a sequel. It is emerging as a deliberate attempt to revive local cinema distribution in Nigeria, at a time when film exhibition has become increasingly centralized around premium multiplexes and digital platforms.
The film is scheduled for a nationwide rollout in 2025, with screenings planned to begin in phases across different states rather than through a limited, big-city opening. This staggered release model is designed to accommodate community cinemas and independent exhibition spaces that are often excluded from mainstream distribution plans. By doing so, the project seeks to reestablish a cinema-going culture that once thrived at the neighborhood level.
A key feature of the Ageshinkole 2 release strategy is pricing. Ticket costs have been set within an accessible range, reportedly between ₦3,000 and ₦4,000, depending on location. This pricing reflects a clear effort to reduce the financial barrier that has kept many viewers away from cinemas in recent years. In contrast to the rising costs associated with luxury cinema experiences, the film’s approach prioritizes volume, reach, and inclusivity.
Exhibition locations are expected to span a mix of local and regional cinemas across the Southwest and other parts of the country, including community theaters in cities and towns such as Ibadan, Akure, Abeokuta, Osogbo, Ilorin, Ilesa, and select locations in Lagos beyond the usual high-end districts. Discussions have also extended to cinemas in parts of the North Central and South South, signaling an ambition to reconnect with audiences often overlooked by conventional release patterns.
This distribution strategy recalls an earlier era when local cinemas served as cultural hubs, offering affordable entertainment and fostering a shared viewing experience rooted in language, tradition, and everyday life. Over time, the decline of these spaces weakened the bond between locally produced films and their core audiences. Ageshinkole 2 aims to reverse that trend by meeting viewers where they are, rather than confining access to a narrow segment of the market.
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Importantly, this effort is not framed as nostalgia. It is a practical intervention that addresses real gaps in the current exhibition system. By testing an alternative model built on affordability, proximity, and scale, the project offers a working example that other filmmakers and distributors can study and adapt.
If the release of Ageshinkole 2 proves commercially viable under this structure, it could reopen a sustainable path for grassroots film exhibition and encourage renewed investment in local cinema infrastructure. Beyond the film itself, the broader implication is clear. The future growth of the Nigerian film industry may depend not only on global platforms and premium screens, but also on rebuilding local access and restoring cinema as a shared, community-based experience.
Compiled By: Adesina Kasali (Medullar Concept)
