There has been a clear change in how Nigerian films are introduced to audiences. In recent years, dance and skit-based promotions have become more common. They now shape how movies are marketed and how filmmakers are seen by the public. What once felt like a creative choice now appears to play a more significant role in garnering attention and support.
This approach, popularized in Nigeria by filmmakers and actresses Funke Akindele and Toyin Abraham, has sparked an ongoing conversation. It questions the growing expectation for filmmakers to perform online to sell their movies, as well as the exhaustion and inauthenticity this demand often creates.
Funke Akindele, for instance, is widely known for her comedic persona, dating back to the Jenifa series. She has consistently produced lighthearted, comic films, which makes dancing and skit-based marketing a natural extension of her brand. In her case, the strategy works because it aligns with the tone of her films and the audience’s expectations.
The same can be said of Toyin Abraham, whose work is also rooted in comedy. Her lively performances, exaggerated expressions, and playful use of Yoruba accent make her a natural fit for this style of promotion.
Veteran filmmakers such as Kunle Afolayan, Mo Abudu, and Omotola Jalade-Ekeinde have openly shared their sentiments with this growing trend. While they applaud those who have successfully capitalized on dance-driven marketing, they have also made it clear that they do not intend to participate in it themselves.
Filmmakers have long experimented with creative ways to engage audiences. These strategies have proven effective across time and cultures. From behind-the-scenes promotions and publicity tours to audience participation and word-of-mouth strategies, as seen in films like King of Boys and Who Killed Captain Alex?, alongside posters, radio interviews, memes, backstage content, and many other approaches too numerous to mention.
The film industry is evolving, and filmmakers are constantly searching for innovative ways to promote their work. This urgency has increased as audience attention spans continue to shrink with the rise of platforms like TikTok, Instagram, and YouTube Shorts.
In this crowded digital space, filmmakers now struggle to earn a place in the eyes and minds of consumers. One increasingly popular approach to gaining traction is dancing and creating short skits around films, both before and after their release.
However, the current backlash against dance-driven marketing stems from a broader issue: the expectation that all filmmakers must follow the same formula to earn audience support. Audiences are increasingly conditioned to be entertained by the filmmaker before they are willing to “support” and show up at the cinema.
When dancing becomes the dominant and often expected marketing tool, it moves beyond strategy into something more troubling—a shift that deserves closer scrutiny.
In the digital age, constant innovation has reshaped how people consume content. Younger audiences, particularly Gen Z and Gen Alpha, increasingly struggle to sit through long-form material that does not deliver instant gratification, visual appeal, or a dopamine rush. This shift has contributed to a decline in critical engagement with films.
Political and social agendas can now be hidden in plain sight, wrapped in spectacle and sensory overload, making them harder for audiences to notice or question.
Alongside this shift is the noticeable decline of film criticism. We now exist in a culture that prioritizes relentless positivity, where anyone can make a film, and any film, regardless of quality, must be celebrated as long as it is entertaining to a specific audience. That audience becomes a defensive army known as fans, aggressively promoting the work online and attacking critics or award bodies when recognition is not given.
Yet filmmaking is not just entertainment. It is also educational and revolutionary. When the industry focuses solely on spectacle, it risks losing its power to challenge, inform, and provoke thought. If these elements are continuously sidelined, cinema risks becoming loud, hollow, and forgettable.
This does not mean social media trends should be dismissed entirely. When used thoughtfully, they can be powerful tools for audience engagement. By placing characters in playful, unconventional settings, answering interview questions, or interacting casually outside the narrative, the campaign will build strong anticipation long before the film reaches cinemas.
While every filmmaker has a strategy that works for them, the Nigerian film industry cannot thrive if it is reduced to sheer entertainment and fan bases alone. Nigerian filmmakers must develop thoughtful marketing strategies alongside strong storytelling if they are to compete in the global market.
Nigerian cinema must rise to this level of intentionality. The industry deserves more imagination, both on screen and online.
