Entertainment

They Want To Kill My Movie — Fathia Balogun Laments ‘Efunroye’ Treatment

Published

2 months ago

May 31, 2026

They Want To Kill My Movie — Fathia Balogun Laments ‘Efunroye’ Treatment

Nollywood actress and filmmaker Fathia Balogun has lamented over what she describes as unfair treatment of her latest movie, Efunroye, by cinemas across Nigeria, accusing some operators of deliberately frustrating the film’s performance weeks after its release.

During an emotional Instagram Live session, the actress complained that her movie was not getting adequate showtimes in several cinemas despite the huge investment and effort put into the production.

Fathia questioned why other movies appeared to enjoy better scheduling and visibility while Efunroye continued to struggle for favourable screening times in different cinema locations across the country.

Her debut cinematic project as a producer, ‘Efunroye: The Unicorn’ , hit cinemas nationwide on May 1, 2026. The historical epic about Madam Efunroye Tinubu has drawn major social media buzz and box office attention, but it has also thrust her into a wider, ongoing industry clash between Nollywood filmmakers and cinema exhibitors over screening schedules.

According to her, many cinemas could not give convincing explanations for the lack of showtimes allocated to the movie, a situation she said has greatly affected audience turnout and box office performance.

The actress explained that she expected stronger support from cinema operators, especially considering the cultural value, storytelling depth, and production quality of the movie.

Speaking during the live session, she said the situation had become painful because the film had not even spent up to one month in cinemas before talks of removing it from screenings allegedly began.

“I haven’t even made the money invested in this movie back and they are already trying to kick me out of cinemas,” she said during the session.

In a video released on Friday, May 29, 2026, on her Instagram page, Fathia called out cinema operators for not giving her movie a favourable time slot that would allow her fans to watch it.

She expressed deep disappointment, stating that cinemas appear to be pushing her film aside in favour of newer releases.

“Matvey Safonov my movie got to the cinemas, I have been complaining about this thing over and over. My fans come to the cinema to watch Efunroye and they find out the time slot is 12pm or 9pm. Which fans will come and watch movies at this time,” she said.

“We just celebrated Ileya and these holidays are the best time to showcase my movie but my fans were not allowed to watch the movie. I am sad about this. Later they will say your movie did not sell out when it’s the operators that did not give the movie a good time slot. I want my fans to note that I’ll continue to sound this out until we are done and they should come out and enjoy my movie,” she added.

The actress explained that the Ileya festive period is typically a time when many people save money specifically to watch movies, making the alleged scheduling issues particularly painful for her return on investment.

Fathia also disclosed that the poor scheduling had affected opportunities for the actors to meet fans and promote the movie physically. She expressed deep disappointment that cinemas were pushing her film aside because newer releases had entered the market.

“Some cinemas are not even giving me time at all,” she said. “By the time they give me stupid showtime and I cannot cope, I’ll leave. That’s what they want to do.”

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Fathia also alleged that some of her actors were turned away during planned meet-and-greet sessions at cinemas because of the film’s scheduling.

She warned that if the movie is eventually removed from cinemas, she may publicly reveal the person she believes is behind the situation.

“I suffered for that movie, I spent a lot on that movie,” she said. In another emotional appeal on Friday, she opened up further about the financial weight of the production.

“I’m heartbroken, and I have never done this before. But because this involves millions of naira, I have to cry out to my fans and ask them to plead on my behalf,” she said.

“I have been having issues with the showtime for my movie. Cinemas are trying to kill this movie, and I don’t know why. This is the Ileya period when people usually come out to watch movies, yet they are giving me poor showtimes.”

“I spent a lot of money on this movie. I borrowed money, and investors are involved too. They need to make their money back,” she added.

She further complained about the specific timings: “Because my movie is four weeks old, they are giving me terrible showtimes. Some movies just came out, and they want to push mine to the background. They give me showtimes like 12 noon. I don’t know who goes to the cinema by 12 noon. Then they give me 9 p.m. showtimes. I also don’t know who goes out to watch movies that late.”

This has not been the experience of Fathia alone, as filmmakers releasing independent or indigenous projects frequently encounter structural friction with cinema chains.

The core grievance centres around prime-time allocation. Instead of landing heavily trafficked afternoon and early evening slots (4:00 PM to 7:00 PM), independent producers often find their films pushed into dead zones, making it difficult for the average viewer to attend due to safety and transport constraints.

Producers argue that these unfavourable times create a self-fulfilling prophecy as poor time slots lead to empty halls, which cinema operators then use as an excuse to pull the movie from rotation entirely.

Ini Edo and Toyin Abraham, filmmakers, had openly accused cinema operators of deliberate sabotage and unfair showtime distributions during peak holiday windows, pointing out that being restricted to single, off-peak slots severely damages their return on investment.

Conversely, cinema executives and industry pioneers like Mo Abudu have pushed back against these complaints. The operators maintain that screen allocation is strictly a demand-driven, cold business decision. Running air conditioning and staffing a 100-seater hall for only two or three viewers loses money, meaning prime-time slots will always naturally gravitate toward the films pulling the highest immediate numbers.

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Speaking on Arise Television, Abudu explained, “When your film is in our cinema and it has no audience, and I am running air conditioning and paying staff, and you only have two or three people in a 100-seater cinema, by the next week we are going to have a conversation. That time slot can no longer really work.”

She stressed that these decisions are not personal, noting that even her daughter’s film was pulled due to low turnout.

“This is about return on investment. It does not matter who owns the film. If I, Mo Abudu, make a film and we are not able to fill up the seats, it’s going to give way to the next film that can,” she said.

“Efunroye: The Unicorn” is a Yoruba historical drama centred on the life of 19th-century businesswoman and political figure Madam Efunroye Tinubu. The movie features actors including Odunlade Adekola and Mercy Aigbe. The film is directed by the trio of Abbey Lanre, Adebayo Tijani and Tope Adebayo Salami, and tells the rise and peak of the 19th-century Yoruba legend who fought against Britain’s annexation of Lagos.

Starring alongside Fathia is an extensive ensemble cast such as Odunlade Adekola, Mercy Aigbe, Ibrahim Yekini, Foluke Daramola and Femi Adebayo.

The film reportedly opened strongly at the box office, earning about ₦29.5 million during its first weekend, coming second in its debut week despite facing stiff competition from other new releases.

Another report suggested the movie earned nearly ₦780 million within three weeks and emerged as one of the highest-grossing films of the period, drawing praise from movie lovers, critics, and cinema audiences for its powerful storytelling and rich cultural representation.

However, these figures have not been independently verified, and the actress’s complaints suggest that actual performance may vary significantly by location.

The emotional outburst has since generated heated conversations on social media, with many Nigerians expressing sympathy for the actress while criticising what they described as the unequal treatment of indigenous productions.

Some supporters argued that epic and culturally rooted movies often struggle for visibility compared to commercially driven productions, despite contributing significantly to the growth of Nollywood storytelling.

However, some social media users defended the cinemas, arguing that scheduling is based purely on demand. One user, @EmediongTG, commented: “Actually, Cinemas don’t sabotage movies, they only care about ticket sales. If a cinema keeps giving you midnight slots, it usually means your daytime shows were empty. Blaming people is just a distraction from low demand.”

Another user, @Beniwinn, offered a middle ground: “Midnight showtimes for a Nigerian movie is basically a silent burial… if what she’s saying is true then somebody in that industry is seriously playing dirty. Why not just give the film a fair shot and let audience decide?”

@mr_chiboi added: “Omo this industry no dey ever simple … but at the same time, these are serious allegations that deserve proper clarity, not just emotions. Hopefully everything gets addressed the right way, because audiences just want fair access to the movie and a clean system overall.”

The actress, however, did not name any cinema chain, but continued to promote the film on her social media pages since its release, describing it as one of the most important productions of her career.

Some Instagram users said they could not find the film showing in certain cinemas, even after trying to watch it, while others said the available screening times were too late and not convenient.

“Efunroye: The Unicorn” had already generated significant controversy before its cinema release. The film is based on the life of Madam Efunroye Tinubu, a 19th-century Yoruba merchant and political figure whose legacy remains widely debated in Nigerian history, particularly regarding her involvement in the transatlantic slave trade. The production attracted public discussion since its announcement because of how it portrays her life.

Some critics questioned the portrayal, and Fathia responded that the film was not intended to “glorify or whitewash” Efunroye Tinubu’s legacy, but to present a broader interpretation of her life and historical impact.

The award-winning actress described the movie as “a work of artistic interpretation and storytelling”.

Despite the challenges, Fathia remains determined to ensure the film gets a fair chance. “They’re pushing my film aside because there are new films. They’re saying there’s nothing special in me and I was selling. Now they’re giving me ridiculous showtimes that don’t allow people to watch.”

“If they don’t give Efunroye showtime because of this, I’ll come out with an interview,” she warned, adding that she would also invoke divine judgment on those allegedly working against her project.

They Want To Kill My Movie — Fathia Balogun Laments ‘Efunroye’ Treatment

Related Topics:cinemas Efunroye treatment

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St. Janet, Nigeria’s ‘General Overseer of Sinners’ Chapel,’ Dies After Brief Illness

Published

12 hours ago

August 2, 2026

Trends Admin

Iyun Janet Ajilore popularly known as St Janet

St. Janet, Nigeria’s ‘General Overseer of Sinners’ Chapel,’ Dies After Brief Illness

Iyun Janet Ajilore, the celebrated Nigerian Juju and highlife musician popularly known as St. Janet, has died after a brief illness. The news of her passing has sent shockwaves through the entertainment industry, with fans and colleagues mourning the loss of one of the most unique and fearless voices in indigenous Nigerian music.

The veteran entertainer reportedly passed away on Saturday, August 1, 2026. Publisher and socialite Otunba Femi Davies announced the news early on Sunday through his social media handles. According to Davies, St. Janet died after a brief illness. Her family has yet to release an official statement detailing the circumstances surrounding her death or announce funeral arrangements.

St. Janet, who was also fondly called “Mama Yabis,” carved a unique niche for herself in Nigeria’s indigenous music scene. She rose to prominence as one of the most prominent female voices in a genre largely dominated by male performers. Her style was a distinctive blend of Juju and highlife music with witty, socially unfiltered lyrics that often addressed societal issues, gossip, and everyday happenings. This earned her a reputation as a fearless and charismatic entertainer who pushed boundaries and sparked public debate about censorship and artistic expression.

Known for her electrifying live performances and engaging stage presence, St. Janet became a regular feature at weddings, birthdays, chieftaincy ceremonies, and other high-profile social gatherings across southwestern Nigeria. Her music, often performed in Yoruba and infused with rich cultural expressions, earned her a loyal following. Some of her notable and controversial albums included ‘Faaji Plus’ and ‘5G Plus,’ which pushed cultural boundaries and sparked public discussion.

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Interestingly, the controversy surrounding her ‘Faaji Plus’ album was never intended for public consumption. In a previous interview, St. Janet explained that the music was a live performance at a private party for select guests that was later pirated and released to the public. She stated, “The CD that you see out there is not really an album. It was a live performance at a party for selected people. The music is meant for adults. It was not meant for everybody.”

Despite the controversy, St. Janet remained unapologetic about her artistic style. “I know that people are criticising me because I am a woman. If I were a man, nobody would complain that I am singing obscene songs,” she once said. She insisted that her music reflected societal realities and that she gave her audiences what they wanted. At the same time, she maintained that her on-stage persona was different from her off-stage character, describing herself as naturally shy and reserved.

The late musician’s background was deeply rooted in Christianity. She was a chorister in a white garment church before transitioning into professional music. This religious foundation often influenced her performances, as she would start her shows with gospel songs before moving into more provocative material, a strategy that one scholar described as an “insidious approach” to erotic performances.

Her career spanned decades, beginning as a backup singer for her master, Lord Kenge, before launching her solo career. She once explained that her stage name “Saint” came from her master, who called her a “saint” because of her quiet, reserved nature off-stage.

St. Janet’s passing has generated an outpouring of grief from fans, colleagues, and lovers of indigenous Nigerian music, many of whom have taken to social media to pay tribute to the late performer. She is remembered as an entertainer with unmatched stage charisma and an enduring legacy that contributed significantly to preserving and promoting Juju and highlife music in Nigeria.

As of the time of filing this report, members of her family have yet to issue a detailed statement on the circumstances surrounding her death or announce burial arrangements. The passing of St. Janet marks the end of an era for many followers of indigenous Nigerian music, but her extensive body of work and contributions to the preservation and promotion of Yoruba musical heritage are expected to endure for generations.

St. Janet, Nigeria’s ‘General Overseer of Sinners’ Chapel,’ Dies After Brief Illness

Entertainment

Tyla drops Lagos from A*POP World Tour amid boycott calls, concert threats

Published

2 days ago

July 31, 2026

Trends Admin

Tyla drops Lagos from A*POP World Tour amid boycott calls, concert threats

South African singer Tyla Laura Seethal has removed Lagos from the schedule of her A*POP World Tour, days after her planned concert in Nigeria sparked boycott calls and heated online debate linked to renewed concerns over xenophobic attacks against Nigerians in South Africa.

The Lagos concert, initially scheduled for December 22, 2026, was no longer listed on the updated itinerary displayed on Tyla’s official tour platform as of Friday.

The revised schedule retains previously announced performances across Europe, North America and South Africa but no longer includes Nigeria.

Tyla had earlier announced Lagos as the only Nigerian stop on the tour, which is being held in support of her A*POP album. The Nigerian show was expected to take place before the tour’s final performances in Cape Town on January 4, 2027, and Johannesburg on January 9, 2027.

However, Tyla, her management team and the concert promoters had not issued an official statement explaining why the Lagos date was removed.

As a result, it remains unclear whether the concert has been permanently cancelled, postponed or temporarily taken off the public schedule.

The planned Lagos performance generated mixed reactions after it was announced, with some Nigerians calling for a boycott over reports of renewed xenophobic attacks and concerns about the safety and treatment of Nigerians living in South Africa.

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Supporters of the boycott argued that South African entertainers should face public pressure until stronger action is taken to address attacks and discrimination against other African nationals.

Others disagreed, maintaining that Tyla should not be held personally responsible for the actions of individuals involved in xenophobic violence or for broader social and political challenges in South Africa.

The controversy intensified after social media activist Martins Vincent Otse, popularly known as VeryDarkMan, said he would mobilise members of his “Ratel Movement” to prevent the concert from taking place.

In a social media post, VeryDarkMan said the planned action was intended to show solidarity with Africans affected by xenophobic violence. He also criticised South African celebrities and public figures whom he accused of not speaking strongly enough against attacks on foreign nationals.

His comments generated further debate, with some social media users supporting the boycott campaign while others raised concerns about calls to disrupt a music event.

Former presidential candidate Omoyele Sowore opposed the boycott effort, arguing that Tyla should not be held responsible for xenophobic violence.

Sowore said Nigerians should focus their anger and demands for accountability on those responsible for attacks and the institutions expected to protect foreign nationals.

He maintained that artists should not be treated as personally accountable for the actions of other people simply because they share the same nationality.

The dispute comes amid renewed public concern over reports involving Nigerians living in South Africa, including the reported death of Nigerian national Chika Ibe in Cape Town.

The reports have renewed calls for stronger action to protect Nigerians and other foreign nationals, investigate alleged attacks and promote accountability.

The removal of the Lagos date from Tyla’s tour schedule has added uncertainty to the status of the planned concert.

While the date is no longer visible on the singer’s official itinerary, there has been no formal announcement confirming that the show has been cancelled or postponed.

Fans and prospective attendees may therefore have to wait for clarification from Tyla’s team or the Nigerian concert promoters.

The development has also renewed discussions about the role of entertainers in public debates and whether cultural events should be used to express opposition to xenophobia.

Some supporters of the boycott view it as a peaceful expression of solidarity with people affected by xenophobic violence. Others believe artists should be judged by their personal actions and should not be held responsible for social or political issues beyond their control.

For now, Lagos is absent from the publicly available A*POP World Tour itinerary, while the South African dates remain listed.

Tyla drops Lagos from A*POP World Tour amid boycott calls, concert threats

Entertainment

Abia Gov Steps In With Medical Support for Ailing Nollywood Veteran Ngozi Nwosu

Published

4 days ago

July 29, 2026

Trends Admin

Abia Gov Steps In With Medical Support for Ailing Nollywood Veteran Ngozi Nwosu

Abia State Governor, Dr. Alex Otti, has authorized immediate medical intervention for veteran Nollywood actress Ngozi Nwosu, answering her desperate public plea for financial assistance amid a critical health crisis. The 62-year-old screen icon, battling an undisclosed illness, urgently requires three life-saving surgeries estimated at ₦30 million, and the governor’s timely response has provided a crucial lifeline as she prepares for the first of these complex procedures.

The approval, covering the initial phase of her hospital bills, was announced on Tuesday by the Governor’s Senior Special Assistant on Tourism and Entertainment, Dr. Justice Okechukwu Martins, who is widely known as JMartins. In a heartfelt post shared on his official X (formerly Twitter) account, Martins confirmed the governor’s swift action while emphasizing that the journey to full recovery is far from over. “His Excellency @alexottiofr have just stepped in on the health issues of our Nollywood legendary actress Mrs Ngozi Nwosu to approve the first part of our medical bills,” Martins wrote. “While we sincerely appreciate His Excellency, we still appeal to kind-hearted Nigerians to please support her in any way possible you can. On behalf of the creative industry, we all Thank you immensely My leader.”

Veteran Nollywood actress Ngozi Nwosu

The intervention comes less than a week after Nwosu made an emotional appeal from her hospital bed, revealing that she had been hospitalized for three weeks and urgently needed three life-saving surgical procedures costing approximately ₦30 million. In a tearful video that went viral across social media platforms, the veteran actress pleaded, “My people, my fans and my family, I know that you’ve not seen me in circulation for some time. I’ve been hospitalized now for three weeks. Please, the thing has gone beyond my control. I need your help, don’t let me die.” Her management team later confirmed that following an encouraging outpouring of public support, she was being prepared for her first surgery, though they noted that the total financial requirement remains substantial and additional contributions are still urgently needed.

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This is not the first time Ngozi Nwosu has faced a life-threatening medical condition. In 2012, she battled severe kidney and heart-related complications, a crisis that required her to travel to the United Kingdom for advanced treatment. On that occasion, the Lagos State Government and several well-meaning Nigerians rallied to her aid, covering her medical expenses and enabling her recovery. Friends and close associates have expressed concern that the current ailment appears more aggressive, with the actress reportedly requiring a longer hospitalization period and more complex surgical interventions than she faced during her previous health battle over a decade ago.

The governor’s timely intervention reaffirms his administration’s broader commitment to supporting notable Abia indigenes, particularly those who have made indelible contributions to Nigeria’s creative and entertainment industry. Governor Otti has previously pledged to position Abia State as a major hub for film production, entertainment, tourism, and cultural promotion, and as part of this vision, his administration is actively pursuing plans to establish an Entertainment City in Aba designed to provide world-class infrastructure for filmmakers, musicians, and other creative professionals. This is not an isolated act of kindness; the governor had earlier approved ₦20 million each for legendary highlife icon Daddy Fresh and veteran actor Sunny McDon, demonstrating a consistent pattern of humanitarian intervention for aging entertainers in distress across the state.

While Governor Otti’s support covers the first phase of Nwosu’s treatment, JMartins and her management team have reiterated that additional financial assistance will still be required to ensure she receives comprehensive care. Fans, colleagues, and well-wishers who wish to contribute to Ngozi Nwosu’s medical fund are encouraged to reach out through verified channels managed by her family and official representatives, with donations also able to be made via the account details that have been circulated on her official social media pages. The entertainment community continues to rally around her, hoping for a successful procedure and a swift return to good health.

Ngozi Nwosu is widely regarded as one of Nollywood’s most respected veterans, with a career spanning over three decades. She rose to national prominence through her unforgettable performances in television and film, including her iconic role in the beloved sitcom Fuji House of Commotion, which cemented her status as a household name across Nigeria. Her contributions to the Nigerian movie industry have earned her a permanent place in the hearts of audiences across the country, and this collective outpouring of support reflects the deep affection Nigerians hold for her as she faces this latest health challenge.