A rare moment of candour has sparked fresh debate inside Nigeria’s film industry, after Funmi Onuma publicly challenged what she describes as a deeply flawed distribution system quietly undermining Nollywood’s cinema success.
In a strongly worded open letter shared on Instagram, the Silverbird Cinemas West Africa general manager shifted attention away from cinema operators, who are often blamed when films fail to meet expectations, and pointed directly at the distribution process as a critical weak link in the chain.
Her message was clear: the problem begins long before audiences ever walk into the cinema.
At the centre of her frustration is a pattern of last-minute decision-making that, according to her, disrupts the entire lifecycle of a film’s release. She revealed that showtimes for some films, including highly anticipated titles, are sometimes still being negotiated on the morning of their premiere. In more extreme cases, cinemas are contacted on the same day and asked to programme films for screening immediately.
That level of disorganization, she argued, comes at a steep cost.
Without proper lead time, cinemas are unable to align marketing campaigns, open advance ticket sales, or build the kind of anticipation that drives strong opening weekends. In an industry where first-week performance often determines a film’s commercial trajectory, those missed opportunities can be decisive.
Her critique highlights a structural imbalance. When box-office numbers fall short, cinema operators are frequently the most visible targets of criticism from filmmakers, audiences, and even the media. Yet, according to Onuma, the groundwork that determines those outcomes is often compromised behind the scenes.
She also pointed to operational uncertainty that affects planning beyond screenings. Recounting an experience, she explained that she was once unable to provide a schedule for meet-and-greet events tied to upcoming films because release timelines were unclear. For her, that lack of coordination reflects a system that is not just inefficient but fundamentally broken.
The conversation extends beyond cinemas to filmmakers themselves. Onuma urged producers to hold distribution partners accountable, just as they expect professionalism from exhibitors. In her view, distribution companies play a central role in shaping a film’s success and should not remain insulated from scrutiny.
Her tone, while critical, leaves room for collaboration. She framed the letter not as an attack but as an invitation to build a more structured and professional ecosystem grounded in advanced communication, clear timelines, and mutual respect among stakeholders.
The issue she raised is not isolated. Across Nollywood, concerns about last-minute scheduling, narrow promotional windows, and inconsistent coordination have repeatedly surfaced in recent years. As the industry pushes for global recognition and higher box-office performance, these internal inefficiencies are becoming harder to ignore.
Onuma’s perspective carries weight given her trajectory within the Silverbird network. Before assuming her current role in 2024, she served as country manager for Silverbird Cinemas Ghana, bringing cross-market experience into her leadership of Silverbird Cinemas operations.
Her intervention arrives at a time when Nollywood is expanding its ambitions, seeking stronger theatrical performance and greater international visibility. Yet, as her letter suggests, those ambitions may remain constrained if foundational systems such as distribution are not aligned with global best practices.
The significance of her statement lies in its timing and its honesty. By naming the operational gaps many insiders have privately acknowledged, she has forced a more transparent conversation about how Nollywood functions behind the scenes.
Whether that conversation leads to reform remains to be seen. What is certain is that the spotlight has shifted. The focus is no longer solely on what happens on screen, but on the systems that determine whether those stories ever get the audience they deserve.