Veteran Nollywood actor and producer Deyemi Okanlawon has shed light on why a growing number of Nigerian filmmakers are turning to YouTube as their go-to platform for film releases, bypassing cinemas and major streaming services.
Speaking as a guest on Channels Television’s Rubbin’ Minds, Okanlawon explained that the high cost and complex politics surrounding theatrical distribution make it increasingly difficult for independent filmmakers to thrive in the traditional cinema space.
“It’s not easy getting a film into cinemas, especially for newcomers. You face hurdles like limited screen time, the politics of popularity, and marketing expectations. That’s why many talented filmmakers are shifting to YouTube — a platform where no one controls access,” he said.
Okanlawon emphasized that YouTube presents a more level playing field where content creators can bypass gatekeepers and connect directly with audiences across the globe.
The trend reflects a growing dissatisfaction among filmmakers with the cinema model. Even though Okanlawon’s own film grossed over ₦130 million in cinemas, he revealed that producers typically receive just around 40% of that amount after deductions by cinemas, distributors, and government taxes.
“When you do the math, you realize the returns aren’t always worth it. From that ₦130 million, only about 40% gets to the producer and for me, that didn’t even cover the production cost,” he shared.
The actor also discussed his decision to take a strategic break from acting in 2019 to better understand the business side of filmmaking. He joined Silverbird Film Distribution, where he rose through the ranks from Head of Marketing to Acting CEO by 2021.
“That was my version of getting an MBA. I couldn’t afford business school, so I went to work to learn distribution, marketing, and how the industry really works behind the scenes,” he said.
Okanlawon further addressed the pullback by global streaming platforms from commissioning original Nigerian content, attributing it to unmet expectations. He noted that many streamers came into the Nigerian market hoping to discover breakout hits on the level of Squid Game or Money Heist.
“They expected a major global hit from Nigeria. Even though we’ve had some of the biggest films come out of the country, they didn’t achieve the global impact the streamers were looking for,” he explained.
He added that the recent rise in geo-blocking of Nollywood content is part of a shift in strategy, with many platforms now favoring regional licensing over global distribution.
Despite the evolving challenges in the industry, Okanlawon remains optimistic about the future, especially for creatives willing to adapt to new platforms like YouTube.
“Whether it’s a Netflix original, a cinema release, or a YouTube premiere I’ll always bring my best. That’s what matters,” he concluded.
