The Nigerian movie industry, Nollywood, has grown from video club VHS home videos to global streaming platforms. The industry can now compete effectively on international platforms, but is winning global recognition. The journey from Old Nollywood to New Nollywood is not just about technology. It is about the evolution of culture, creativity, and how Nigerians tell their own stories.
Old Nollywood, as we now know it, was born out of a mix of necessity, creativity, and the hustle.
In the early 80s, the success of theatre productions like Taxi Driver, Jaiyesimi, Aiye, and Kadara. The activities of pioneers such as Hubert Ogunde, Ade Afolayan, Duro Ladipo, and Baba Sala propelled the industry forward. Their work sparked a desire for more.
In 1992, a visionary attempted an experiment in new filmmaking. This gave birth to Living in Bondage, often cited as the first movie credited to Nollywood. This was the start of the video film era.
Throughout the 1990s and into the early 2000s, storytellers continued to explore filmmaking by producing movies such as Rattlesnake, Sakobi the Snake Girl, Nneka the Pretty Serpent. Other famous movies include Ami Orun, Eda, Ogbori Elemoso, Fopomoyo, Iru Eshin, Glamour Girls, and Blood Sisters. These movies dominated the airwaves, and video club owners made significant income renting them to Nigerians.
Filmmaking was fast-paced, raw, and mostly done on video rather than traditional film, giving it that grainy, homemade texture.
It was also characterised by over-the-top fashion, makeup, and comedic storytelling. Filmmakers had limited resources but endless imagination.
They created stories that felt real to ordinary Nigerians, such is the case with the satire, Owo Blow. The movie highlights the struggles of a young boy forced to grow up too soon in an uncaring society.
Sometimes, the movie makers went over the top. Movies like Yemi My Lover, End of the Wicked, and Full Moon feature crazy storylines and unrelatable plots.
They were also ahead of their time with experimental movies like Lagidigba, which featured an all-female cast.
At its peak, an estimated 520 movies were released annually, averaging ten movies every week.
These films often explored different themes, including:
The production quality was subpar, with grainy visuals, inconsistent sound, and rudimentary visual effects. Yet it still conveyed a powerful emotional and cultural truth that resonated with viewers.
This was also the era of TV series. It wasn’t unusual to recline on the couch after a long day.
Many people spent a blissful half hour with Chief Fuji and his wives in Fuji House of Commotion.
Others tuned in for the moral lessons in Super Story, This Life, or Binta and Friends from Wale Adenuga Productions.
These series became so popular that it was not unusual for kids to discuss episodes in school the next day. They also indirectly helped shape the thinking and decision-making of young people who were the audience.
By the 2010s, a new generation of filmmakers emerged, marking the beginning of what is now known as New Nollywood. Many of these individuals were trained at film schools abroad and were exposed to Hollywood and European cinema. Actors like Genevieve Nnaji, Rita Dominic, Sola Shobowale, Uche Jombo, Shaffy Bello, and Ramsey Nouah helped bridge both eras.
This era, beginning in the 2010s, brought in higher budgets, better cameras, and improved storytelling. Cinematic movies like The Figurine, October 1, Confusion Na wa!, The Wedding Party and King of Boys showcased modern cinematography, strong scripts, and box-office success.
Nollywood is no longer just a local phenomenon. It has become a global brand, attracting attention from Netflix, Amazon Prime, and international film festivals. Lionheart, a movie by Genevieve Nnaji, is credited as the first Nigerian film to be released solely on Netflix.
The shift in the distribution of movies led to the emergence of cinema. In the coming years, a surge in Nollywood films appeared on global platforms. By the mid-2020s, many films had been released on Netflix, Amazon Prime, and YouTube.
Filmmakers like Ruth Kadiri, Omoni Oboli, Bolaji Ogunmola, and Bimbo Ademoye have turned to YouTube to reach a wider audience. Omoni Oboli’s Love in Every Word is now the highest-grossing Nollywood movie on the platform.
Today, it’s possible to switch on a smart TV and enjoy Nollywood movies on various online platforms. Gone are the days when people claimed that watching Nigerian movies would shorten the lifespan of one’s brain cells.
Old Nollywood centred on straightforward stories that contrasted good and evil, featuring simple plots and strong dialogue. New Nollywood, by contrast, embraces the complexities of identity, politics, and social issues. Seeking not just to entertain but to spark global discussion on Nigeria’s realities.
This evolution highlights Nollywood’s expanding ambition and depth, demonstrating its journey from local storytelling to engaging a worldwide audience.
The most visible difference between Old Nollywood and New Nollywood lies in production quality. Old Nollywood relied on handheld camcorders and natural light. Editing was basic, and the sound often echoed; the picture was always blurry. Today, when checking YouTube for old videos, they are often pixelated.
Today’s Nollywood uses digital cameras, drones, studio lighting, sound design, and color grading. The fight scenes look realistic enough. The CGI is fair, and the VFX seems decent. Modern editing suites and international collaborations have transformed the look and feel of Nigerian films.
Old Nollywood was informal; little attention was given to copyright, contracts, or royalties. It was a gathering of thespians coming together to do something they loved and to impart moral lessons.
New Nollywood is more structured; today, it is a full-fledged business with production houses, investors, and international distribution deals. Today, Nollywood stands as one of the world’s largest film industries in terms of output. Its cultural influence continues to spread across Africa and the diaspora.
Old Nollywood gave the industry many unforgettable legends.
They include Jide Kosoko, Adebayo Salami, Idowu Phillips (Iya Rainbow), Rachael Oniga, Genevieve Nnaji, and Ramsey Nouah. Others are Pete Edochie, Omotola Jalade-Ekeinde, Saheed Balogun, and Patience Ozokwor.
These actors defined Nollywood and delivered some of the most iconic characters in the genre to date.
It is not unusual for a movie to be produced and directed by one person. That same person would also be the main character.
A fresh generation of stars has joined the old to make a new Nollywood.
They include Lateef Adedimeji, Adesua Etomi-Wellington, Kehinde Bankole, Timini Egbuson, Bimbo Ademoye, Kunle Remi, Nancy Isime, and Daniel Etim Effiong. Not forgetting Femi Adebayo, Ibrahim Chatta, Odunlade Adekola.
Visionary directors and producers are at the helm, including Bolanle Austen-Peters, Kemi Adetiba, Kunle Afolayan, Jade Osiberu, and Mo Abudu.
Old Nollywood was good, New Nollywood is better. There is really no difference between the two; New Nollywood is a continuation of the Old Nollywood. Together, they form one story: the story of a people who never stopped telling their truth.
Still, there is considerable room for growth. The industry must continue to improve its special effects, stunts, and storytelling. Nollywood needs to diversify beyond romantic comedies. They need to embrace a broader range of genres that show the richness of Nigerian life. To be true to its essence, it must tell stories grounded in local realities rather than Western influences.
Finally, the fight against piracy and the investment in professional training are essential. With these steps, Nollywood can evolve not just in scale but in depth. The industry can become a global powerhouse while remaining unmistakably Nigerian at heart.
