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In recent times, Nollywood movie promotions have gone beyond billboards and posters. These days, it’s all about social media trends, funny skits, and dance challenges.
Months before the release of her movies, Nigeria’s highest-grossing filmmaker, Funke Akindele, would flood social media with a series of skits and snackable videos teasing and promoting the films. From Omo Ghetto: The Saga and A Tribe Called Judah to Everybody Loves Jenifa, Akindele mobilises her cast to promote the films on Instagram and TikTok, using humour, dances, and influencer marketing to drive cinema sales.
While this strategy has proven effective, not every filmmaker is comfortable with it. Several industry players are beginning to question the growing pressure on actors and producers to become dancers and skit makers, all in the name of movie promotion.
“Now they’re forcing actors to be social media content creators. It’s now like, ‘You see that dance? You must dance on the internet,” actress Jemima Osunde said in a social media post in April.
Osunde has other actors in her corner. Jaiye Kuti described the marketing trend as exhausting, noting that actors are gradually being forced to do things outside of their remit.

“I spent money on my second movie with my partner, yet I still had to go to the street to dance to create publicity for the movie,” she said.
‘Digital hustle’
Actress and producer Iyabo Ojo insists that filmmakers who use dance and skits to push their projects are not doing anything negative. Promotion is not new in Nollywood. According to Ojo, the only difference is the digital platforms now in use.
“This is something that has been happening as far back as when I joined the Yoruba film industry,” she says. “The only thing different is the method in which we do it.”
She recalls the early days when marketers would perform in front of the National Theatre to attract filmgoers.
“We’ll stay from the gates [of the National Theatre], we’ll be beating drums, dancing, singing cultural songs, trying to lure them to come and watch our own movies.”
Ojo says filmmakers at the time had to go from city to city just to get the word out. “Sometimes we do a tour. We go to Ibadan, and from Ibadan, we go to Osogbo. We go to Akure. We go to Ekiti. We go to Ilorin.”
She also criticises the idea of dropping a movie in cinemas without promotional effort. “If Coca-Cola is still running adverts back to back on their products, I wonder why I or anyone else can’t use any method to run an advert and create awareness,” she says.
Alternative strategies for promoting films
Although social media remains a powerful tool, filmmakers are exploring new and creative ways to market their projects without relying solely on trends and dance routines.
Here are some approaches gaining traction, as experts have shared.
Thematic partnerships: A film about food can collaborate with restaurants or street vendors, while a romantic film can pair with dating platforms or wedding brands.
Campus, community screenings and festivals: Hosting early previews in universities or open spaces in major cities across the country can drive organic interest.
Mini-documentaries and BTS content: Behind-the-scenes clips showing the filmmaking journey can help audiences feel connected to the project.
Character-based social media accounts: Just like Skinny Girl in Transit did, giving fictional characters their own platforms can keep the story alive online.
Gamified promotions: Quizzes, fan challenges and interactive games can generate interest, especially among Gen Z audiences.
Target interviews with influencers and press coverage: Actors can speak about their roles and what the movie stands for, creating deeper interest beyond just comic relief.
Engaging with film critics: Engaging with film critics helps secure reviews, feedback, and visibility by showcasing your story, acting, themes, and technical strengths clearly.
Approaching a dedicated film promotion company: Film promotion companies handle marketing strategies, letting filmmakers focus fully on creating quality, captivating movies.