On February 7, 2025, Nigerian filmmaker Kunle Afolayan announced that his 2016 film, “The CEO,” would be released for free on YouTube, followed by his 2011 romantic dramedy, “Phone Swap,” on February 28. Both films have already gone through primary theatrical, pay-TV, and streaming distribution windows.
In a February 12 interview, Afolayan explained that this move was about accessibility—ensuring that his films remain available to audiences, especially younger viewers who missed them upon release.
Afolayan’s decision was made amid ongoing conversation among Nigerian filmmakers and observers about alternative distribution models. Long-term film accessibility, monetization, and Nigeria’s limited cinema infrastructure are at the core.
Prominent multihyphenates like Jade Osiberu and Omoni Oboli have also turned to YouTube, though with different strategies. Meanwhile, Uche Nancy has long used it as a primary platform, consistently releasing full-length films and series to a large subscriber base.
Producer Chioma Onyenwe has expressed concerns about devaluing premium films by making them freely available on YouTube.
The discourse also coincides with shifts in global streaming priorities, as Amazon Prime Video scaled back original African content investments, and Netflix continues to focus largely on South Africa.
With African filmmakers broadly facing fewer reliable distribution options, YouTube has become a practical tool for some—though not a one-size-fits-all solution.
Last month, Akoroko Premium subscribers received a newsletter exploring how Nigerian filmmakers are turning to YouTube as an alternative distribution strategy against the backdrop of limited cinema infrastructure and changing streaming priorities. The deep dive examines the trade-offs between accessibility and monetization with a focus on the different ways filmmakers like Afolayan, Osiberu, and Nancy are approaching it.
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