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When Ben Bruce launched Silverbird Cinemas, the entire entertainment industry celebrated, believing it would create the much-needed market for the burgeoning sector. Silverbird teamed up with Stephanie Okereke (now Linus) to make history with Through The Glass. The arrival of New Nollywood was confirmed with groundbreaking films like Chineze Anyaene’s Ije, Kunle Afolayan’s Figurine, and Funke Akindele’s TROJ, which collectively established a new market alongside efforts by filmmakers like Obi Emelonye and Lonzo Nzekwe.
However, the true revolution wasn’t driven by Silverbird. According to this writer, the brand’s influence waned after the death of Ayo Sewanu. Instead, the real change was spearheaded by the creative genius Kene Mkparu. With his team at Genesis, comprising Kene Okwuosa, Peter, and Remi, they challenged Silverbird’s dominance. Ozone became the mainland’s favorite, shifting the competition to footfall numbers at cinemas.
The landscape transformed when Mkparu established Filmhouse Cinemas and Filmone Distribution after parting ways with Genesis. Kene’s vision brought significant changes to cinema and distribution, securing major titles from Hollywood and bringing professionalism and accountability to the industry. His strategic establishment of cinemas in prime locations made him the leader in distribution and exhibitions, leaving competitors struggling to keep up.
Kene’s departure from Filmhouse and Filmone didn’t change their market dominance. These entities continued their aggressive market stance, leaving little room for competitors to thrive. Currently, Filmhouse faces minimal competition, a situation that is detrimental to the industry’s health.
Last year, industry veteran Ope Ajayi launched Cinemax and directly competed with Filmone through the release of Ada Omo Daddy. Ope’s entry brought a fresh dynamic to the industry, signaling the arrival of new competition in distribution. However, Ope is limited by his current reach in international distribution and financial capacity to establish cinemas. Despite these challenges, Ope is a crucial player whose presence must be supported. His upcoming release in December with another of Mercy’s films requires industry and national backing.
Moses Babatope, on the other hand, is well-positioned to compete with Filmone and Filmhouse. Supported by a team of smart, young, bold female executives, Moses has the financial resources, international connections, and a plan to launch a series of cinemas, starting with luxury cinemas headed by Bobby Taylor, followed by mass cinemas from 2025.
The entry of Moses enhances the competitive landscape, bringing more balance to the market. The focus is now on Filmone, Filmhouse, Cinemax, and Nile. Other competitors appear inactive, especially in distribution. Despite the dominance of Filmone, the industry’s growth hinges on protecting competitors to avoid a monopolistic market. More entrants, platforms, and options are essential for a thriving industry. As leaders, Filmhouse and Filmone should support the success of others. Competition is vital for progress and innovation.
Meanwhile, competitors must step up. It is not Filmhouse’s responsibility to stabilize them; they are in business. Past competitors have been dormant, but the new generation must succeed for the industry’s sake. All eyes are on Moses Babatope and his Nile team as they distribute Omoni Oboli’s Wives on Strike in October, and Ope Ajayi’s Cinemax with Queen Lateefah and Thin Line in September and December. May the odds be in their favor!
Sam Olatunji
