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By Goli Innocent
Media mogul Mo Abudu has dismissed claims that Nigerian cinema owners give preferential treatment to some films, insisting that screening decisions are driven entirely by audience turnout and return on investment.
Speaking on Arise TV, the CEO of EbonyLife Group, which also operates cinemas across the country, clarified that loyalty, sentiment, or personal affiliations play no role in determining how long a film stays on the silver screen.
“Well, I can’t speak for all cinemas in Nigeria, but I can certainly speak for EbonyLife cinemas. It is not true. We run a professional business,” Abudu said.
She explained that ensuring full cinemas is crucial for profitability.
“Our return on investment depends on people filling the seats. We operate five cinemas, with six screenings daily. That adds up to 900 screenings a month. No film can dominate all those slots if the audience isn’t coming,” she noted.
Abudu recounted that underperforming films are removed regardless of ownership.
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“When a movie isn’t drawing crowds, we have to take it out. This is purely about investment returns. It doesn’t matter who produced the film.”
Her comments come amid complaints from filmmakers, including Toyin Abraham, Ini Edo, and Niyi Akinmolayan, who accused some cinemas of sabotaging December releases through selective screening practices.
In 2024, actress Mercy Aigbe alleged that some cinemas discouraged viewers from watching her film Thin Line, while actor Femi Branch claimed staff sometimes promoted particular films by wearing branded merchandise.
Former BBNaija housemate Pere also said he lost over ₦150 million due to what he described as biased cinema practices.
However, the Cinema Exhibitors Association of Nigeria (CEAN) has consistently rejected such claims. Patrick Lee, former CEAN chairman, argued that deliberately undermining films goes against the commercial interests of cinema operators.
Mo Abudu’s clarification is likely to reassure filmmakers and audiences that Nigerian cinema decisions remain business-driven and focused on audience engagement rather than favouritism.
