Entertainment
The Evolution Of New Nollywood
Today, the Nigerian film industry or Nollywood as it is more commonly referred to, is recognised as one of the biggest in the world. There are star actors, higher production values and the intensely enthusiastic participation of global audiences in the burgeoning film scene in the country. However, these advancements did not occur until recently, when it went from its direct-to-video hits in the Golden Era to its current state – the new wave, more controversially called “New Nollywood.”
New Nollywood saw films particularly distinguished by their enhanced narrative complexity, aesthetic value, and overall production quality compared to the films made during the video boom. While some films in this wave are still released directly on DVD, most are released theatrically to teeming fans via cinemas or streaming platforms.
What happened before New Nollywood?
Long before the Ini Dima-Okojies and Timini Egbusons of today, cinema, for most people, was in the form of playing companies and travelling troupes. They performed in various cities and attracted a huge crowd of faithful looking to unwind and have a good time. These plays, either funded by the court, church or audiences, were promoted via advertisements and posters disseminating information to potential audiences.
The introduction of technology made it possible for these plays to be recorded and screened in tiny picture houses across cinemas in the industry. As a result, the local content, especially productions from Western Nigeria, owing to former theatre practitioners such as Hubert Ogunde and Moses Olaiya, were on the big screen. This way, they reached a larger audience, and this saw a significant increase in the 70s.
By the 80s, the purchasing power of most Nigerians had increased (all thanks to the oil boom of the late 70s). This single action saw an increase in cinema visits as more people could spend more going to the cinemas. It also saw home television sets become a staple in Nigerian homes. The latter would then birth family television shows, and sitcoms created for families and revolved around the quintessential Nigerian home. These shows like New Masquerade, Basi & Company, to mention but a few, were riveting and aired at times when every family member was home from the daily hustle and bustle.
These television productions were later released on video, leading to the development of a small scale informal video trade, and subsequently the much talked about video boom of the 1990s. Despite all the success, this era of Nollywood was not easy as it was plagued with multiple errors. Like the oil boom was integral to purchasing power, its crash affected the industry as well. There were also issues revolving around lack of finance and marketing support, lack of standard film studios and production equipment and, very importantly, a lack of experience on the part of practitioners.
Also, owning television sets at home came with its problem – more and more households rejected the idea of visiting cinemas. It also didn’t help that the films produced during this era were screened over a single weekend, making them available on video immediately. Eventually, more families consumed films together as it had become inbuilt behaviour. These films were educational and taught the difference between good and evil, and already there was a culture of communal watching which made it all the better.
By the 90s, most cinema houses had collapsed due to a lack of activity. Churches acquired others that had not collapsed. As expected, video on demand was the thing, and films like Kenneth Nnabue’s Living in Bondage had paved the way for this. Video rental clubs thrived for families, and the allure was paying as little as N100 for a limited amount to a film.
Resting on the Shoulders of New Nollywood
New Nollywood may not have kicked in until recently, but its groundwork has been a long time in the works. Few years into the 2000s, there was a vibrant rebirth of cinemas designed for society’s middle and upper echelon. By this time, televisions were still trendy, and films went from VHS (Video Home System) to VCD (Video Compact Discs). Nonetheless, more people craved some form of social interaction. The cinemas afforded them some level of social activity and a modified sort of entertainment beyond film watching, seeing as they were located in prominent and busy malls. The Silverbird Group was one of the first significant players here, opening up a high scale mall in Victoria Island, which had a cinema and other entertainment attractions. Upon Silverbird’s success, more and more cinemas erupted and spread into the less affluent neighbourhoods in the society.
Also, during this period, grants were provided by the government and various institutions to filmmakers to produce high-quality titles and aid proper distribution as piracy was eating deeply into the industry at that point. Some of these grants allowed filmmakers to take film courses and learn at prestigious schools. Other filmmakers tried to make breakaway films, which were quite different from the norm. These include Tunde Kelani’s Thunderbolt, Tade Ogidan’s Dangerous Twins and Mildred Okwo’s 30 Days.
By the end of 2013, the film industry reportedly hit a record-breaking revenue of N1.72 trillion. One year later, the industry was worth N853.9 billion, making it the third most valuable film industry in the world, behind the United States and India.
With New Nollywood, Nigerian films have been elevated from what they used to be in the video boom area. They have considerably bigger budgets, extended film production periods and are better equipped to take the storytelling up a notch. Also, a little freedom with the range of stories to tell was introduced. One could argue that New Nollywood may not have gotten storytelling better than its predecessors, but there seems to be time to correct that mistake if the industry seems willing to.
Another exciting thing that came with New Nollywood was video-on-demand platforms and pay-TV networks, another interesting way technology has helped the industry. Although cinemas are great for social activity, there’s an audience that either misses out on films due to their short stay in cinemas or just plain unwillingness to watch them. In 2020, Netflix launched locally in Nigeria and South Africa to prioritise content made by Africans. Since then, it’s commissioned a few original TV shows and films, most recently Kemi Adetiba’s seven-part series King of Boys: The Return of the King. Before its launch, the streaming giant had also been paying for content by Africans for streaming on its platform.
Entertainment
“The Legal Day” 2025: Alliance Française Port Harcourt, Moves to Promote French Via Law
In a bid to promote the French language through law and build bridges between communities the Alliance Française Port Harcourt, in collaboration with the Embassy of France in Nigeria has organized the 2025 edition of “La Journée du Droit” (“The Legal Day”)
The event which took place at Alliance Française auditorium was a civic and linguistic celebration designed to help learners of French Language and young citizens discover the importance of law in everyday life.
The Tide Entertainment reports that the event featured interactive quiz sessions, exploring legal rules and civic principles in Nigeria, France, Africa and beyond, pointing out both the similarities and differences between legal systems around the world.
Throughout the day, the event featured interactive quiz sessions exploring legal rules and civic principles in Nigeria, France, Africa, and beyond, highlighting both the similarities and differences between legal systems around the world.
The initiative was aimed at encouraging reflection on the rights and responsibilities shared by all citizens and to promote the values of justice, equality, and mutual respect through the French language.
The programme which had two sessions, (Morning and Afternoon session) witnessed the participation of about 150 students from various levels of education. Ranging from the Primary, Secondary, and tertiary institution for an engaging experience of civic and legal concepts.
Schools in attendance included Surebloom International School, Pleroma High School, Casterly Rock Secondary School, and TotalEnergies Port Harcourt School.
The morning sessions saw the Participation of Alliance Française students in an interactive quiz, enhancing their French comprehension while exploring civic notions.
While the Afternoon session had students from the University of Port Harcourt – UNIPORT (French Language and Law Departments), students from the French Department from both Ignatius Ajuru University of Education and Rivers State University joined in the final rounds of the competition.
According to the director of Alliance Française Port Harcourt, Mrs Marina Lacal, all quiz questions were presented in French, then translated into English to ensure full understanding by participants, saying that winners received special prizes, as all attendees took home souvenirs from the educational and convivial event.
Mrs Lacal said that the diplomatic and educational initiative event “La Journée du Droit” (The Legal Day) sought to promote the French language through law, highlight the capacity of law to build bridges between communities and emphasize law as one of the pillars of French diplomacy.
“Through this initiative, the Alliance Française Port Harcourt continues its mission to foster intercultural dialogue, civic awareness, and the learning of French as a language of knowledge, culture, and citizenship,”?she?added.
The Garden City of Rivers State Port Harcourt at the weekend joined other parts of the world to celebrate the World Music Day, 2025, as Alliance Française showcases talents.
The event which is internationally known as Fête de la musique was held at cultural hall of the Alliance Française was a remarkable concert with memorable experience.
The event brought together music lovers, students, Artistes and members of the community For an exciting evening live performances and cultural exchange.
The Tide Entertainment reports that the world Music Day, which was created 1982 in France by the then Minister of culture, Jack Lang, ‘ Fête de la Musique’ is now celebrated in more than 100 countries every 21st June, marking the first day of summer with free concerts and musical showcases in public spaces.
In Port Harcourt, the Alliance Française honoured the tradition by spotlighting four(4) emerging artistes offering a platform to young talents shaping the city’s contemporary scene.
The audience enjoyed an unforgettable moments as they were entertained by the powerful performances from Preach A, who is known for blending fitness culture with spoken words and rhythm.
Also, artiste Emmayany delivering a vibrant fusion of afrobeat and afro pop. A singer, song writer and a performing artiste with a distinct sound.
Others were Amarachy Uko, a sensational singer with passion for soul , R&B, pop music and afrobeat.
While DJ Prospel closed the night with an energetic DJ set that got the entire hall dancing.
Earlier, the Director, Alliance Française, Port Harcourt Mrs Marina Lacal high lighted the mission of the Alliance Française saying that the event was more than a concert.
According to her, the event was put together by the Alliance Française to promote cultural diversity and foster artistic expression by connecting a long standing French tradition with creativity of the local music scene, adding that the event offerers an avenue for dialogue between culture and generations.
She stated that the event is used to promote professional and bring amateur artistes to limelight via the platform of the Alliance Française which is aimed at promoting the French Language through cultural heritage.
She explained that the celebration is also a broader series of Fête de la musique activities organized by the 10 Alliance Française across Nigeria in sync with concerts held in France and around the world simultaneously.
She further noted that the occasion reaffirms the role of Alliance Française as a cultural bridge, one where French heritage meets the pulses of Nigerian youth.
It would be recalled that no fewer than 19 artistes applied to perform at the event in Port Harcourt, but only four got approval for appearance.
The Governor of the Performing Musicians Employer’s Association of Nigeria (PMAN), Rivers State chapter, Comrade Moses Mabadeje popularly known as Mozy B said that the body has announced plans to implement performance Levy on artistes in the state with effect from 21st June.
This was carried in a statement released to The Tide Entertainment, yesterday by the Deputy Governor of the association, Comrade Abiye Howells.
According to the Governor, the announcement was made by PMAN, the only governing body that regulates the music profession in Nigeria, as authorized by the Government of Nigeria, in line with the Trade Union Act.
He stated that those affected by the Levy include (Non members)bands, groups, Hotels, Bars, lounges, Event Centres, show organizers, promoters and other stakeholders hosting events which feature live music performances within the State.
However, the Levy does not apply to members of the Performing Musicians Employer’s Association of Nigeria. (PMAN).
Comrade Moses Mabadeje, explained that this drive is aimed at financing the association and supporting the welfare and interest of musicians as outlined in Article 8 of the PMAN constitution as amended (2023). Consequently, a PMAN task force has been set up to enforce and swing into action to effect this move.
He further said that event organizers, promoters and owners of event centers are expected to comply with this regulation as the Governor has urged stakeholders to collaborate with the association to ensure the successful implementation of the levy and the peaceful co-existence between PMAN and Stockholders.
Nancy Briggs