Nigerian filmmakers and actors are choosing to release full-length films and series directly on YouTube, due to the higher revenue potential, quicker monetization, wider global reach, and greater creative control compared to traditional cinema or subscription platforms like Netflix.
This shift is supported by strong performance data from top manufacturer channels. According to industry reports and analyses, YouTube has become a major income driver for prominent Nollywood celebrities, especially those with substantial followings in Nigeria and the diaspora.
Bimbo Ademoye's channel, Bimbo Ademoye TV, with approximately 1.4 million subscribers, features models. His entire films and series attract millions of views, generating steady advertising revenue. Estimates are that comparable high-performing Nollywood titles on YouTube can earn from a few thousand to tens of thousands of dollars per release, depending on view numbers and audience mix. Titles such as 'Where Love Lives' have attracted millions of views, demonstrating how long-distance advertising can outperform one-off license fees.
Also read: Why do filmmakers abandon cinema for the YouTube gold rush?
Omoni Oboli's YouTube presence is even more pronounced. With over 1.75 million subscribers and recognition as 'Youtube's Top Creator Channel in Nigeria for 2025', their catalogue, which includes viral hits such as 'Love in Every Word' which garnered over 30 million views, reflects the scale of the platform.
Individual films can generate substantial revenue from advertisements alone, especially when audiences come from high-paying markets such as the US, UK and Canada.
These earnings are estimates derived from public analytics tools and industry benchmarks, and they vary by ad rates, engagement, watch time, and geography. YouTube typically pays creators about 55 percent of ad revenue, with higher cost per impression (CPM) often associated with expatriate audiences.
In contrast, cinema economics remains narrow. FilmOne data shows that the entire West African box office generated approximately N15.6 billion in 2025, with only a handful of releases reaching blockbuster status. Funke Akindele's titles, including 'Behind the Scenes', which crossed N2 billion, remain exceptions in a market hampered by limited screens, ticket-sharing arrangements favoring exhibitors and heavy marketing costs.
production cost
According to various reports and industry insights in 2025, the cost of producing Nollywood films varies significantly depending on the intended distribution model. High-end projects aimed at cinema release often have substantial budgets, often exceeding N100 million (and sometimes reaching N250 million to N300 million due to inflation, rising fuel prices, equipment and crew expenses), reflecting the need for better production values, marketing and theatrical appeal.
In contrast, films produced primarily for YouTube are generally made on much smaller budgets, often specifically planned with YouTube economics in mind, allowing lower costs while still achieving viability through direct digital distribution.
Although there are exceptions such as Falling Notes, which pushed YouTube's production costs to close to N50 million, most creators take a more cost-efficient approach in line with online monetization.
Producers say YouTube offers a revenue model that is separate from cinema releases and streaming platform licensing. While theaters depend on ticket sales and physical attendance, and streaming platforms typically pay fixed licensing fees, YouTube provides revenue through advertising as long as the content continues to attract viewers. Creators also earn through channel subscriptions, sponsored content, and brand partnerships.
Manufacturers also cite ownership and control as a factor. On YouTube, creators retain rights to their content and determine release schedules, marketing strategies, and monetization formats. Streaming platforms often require exclusivity and impose content, format, and release terms.
Also read: Why N50M YouTube movie 'Falling Notes' didn't go to cinemas, Netflix
The pace of monetization is another factor. Once a channel is approved for the YouTube Partner Program, a film uploaded to YouTube can begin generating revenue immediately, while licensing negotiations and cinema distribution arrangements can take months. Distribution on YouTube also eliminates cinema marketing costs and physical distribution expenses, reducing upfront financial risk.
YouTube audience reach is also broad, allowing Nigerian films to reach both local audiences and diaspora audiences without geographic restrictions. Cinemas are limited by physical space and capacity, and some streaming platforms are not fully available in African markets.
To monetize content, creators must meet YouTube Partner Program requirements, including at least 1,000 subscribers and 4,000 public watch hours in the last 12 months, compliance with copyright and content rules, and linking to a Google AdSense account. Revenue is generated primarily through advertising displayed on videos, as well as subscriptions and sponsorships.
This has empowered independent producers who previously struggled for cinema slots or streaming deals to go direct to audiences.
Omoni Oboli, Bimbo Ademoye, Uche Montana and Ruth Kadiri, who released dozens of movies on their channels in 2025 and built a large subscriber base, have publicly endorsed this approach, using YouTube earnings to self-finance future projects rather than relying on investors.
This trend is reshaping the industry. Producers are investing in digital teams for editing, uploading and engagement. This challenges cinemas, which compete with at-home viewing, and global streamers, which lose content to direct models.
At the 2025 African Film Festival (AFIFF), actress and filmmaker Ruth Kadiri emphasized YouTube's growing dominance, predicting it will only expand, though she also noted challenges such as artificial visual inflation in the region.
Risks remain, including algorithm changes, fluctuations in ad rates, seasonality, distraction of views by piracy, and the pressure of frequent uploads potentially impacting quality.
Overall, Nollywood's YouTube boom reflects a global move toward a direct-to-viewer model. With Nigeria's large local and diaspora market, the platform offers viable, sustainable economics, turning filmmakers into independent digital powerhouses. While larger studios may merge channels, YouTube is solidifying as the primary distribution and revenue engine for many in the industry.
