Netflix serves Nigerian filmmakers “last supper”, cuts ties

It has been revealed that Netflix, the online global streaming platform, has ceased commissioning Nigerian originals, acquiring movies and funding movies in the country effective November 2024.

Since entering the African market in 2016, and the Nigerian market in 2020, the first from the league of streaming platforms like Amazon Prime, Hulu, Disney Plus and HBO, the platform has been behind some of the country’s biggest and most successful Indigenous productions.

Notable Nigerian Originals include King of Boys, Citation, Far From Home, Blood Sisters, Lionheart, Shanty Town, Anikulapo and Oloture.

Femi Adebayo’s ‘Seven Doors’ debuts on 13 December on the platform, and Kemi Adetiba’s ‘To Kill a Monkey’ might be among the last Nigerian originals following this decision. 

Netflix’s latest decision comes almost two years after its biggest rival in Nigeria, Amazon Prime Video, made the same move.

In January 2024, Amazon, on Prime Video, downsized and reduced funding and resources allocated to Africa and the Middle East, concentrating on its European originals.

In the last few years, Amazon Prime Video funded original Nigerian content like ‘Gangs of Lagos’, ‘She Must Be Obeyed’ and ‘LOL: Laugh Out Loud.’

At the recently held Zuma Film Festival in Abuja, Victor Ohai, president of the Directors Guild of Nigeria, broke the news of Netflix’s shocking move and lamented its impact on the industry, particularly his colleagues who have benefited from the platform in many ways.

The Minister of Culture, Tourism and Creative Economy, Hannatu Musawa, the First Lady of Kwara State, Olufolake Abdulrazaq, and other notable filmmakers were in the audience.

Last supper

Moderating a panel of five that included filmmaker Kunle Afolayan, Mr Ohai said, “Netflix came to serve the last supper here a couple of weeks ago. In case you are unaware, they invited our filmmakers to a party’’.

The last supper in this context that Mr Ohai was referring to was Netflix’s much-anticipated annual celebration, Lights, Camera…Naija! was held in November, and PREMIUM TIMES was in attendance.

The event’s title, a play on the classic ‘Lights, Camera, Action! ‘, was a nod to the Nigerian film industry’s growing influence and the creative energy that fuels it.

It was an unforgettable night dedicated to honouring the industry’s pioneers and stakeholders. Attendees included Femi Adebayo, Shaffy Bello, Dakore Egbuson, Ramsey Nouah, Kate Henshaw and almost anyone who mattered in Nollywood.

Mr Ohai said, ‘‘They had spoken to the people they had been dealing with, they were saying, ‘look, we are pulling out, we are not doing business with you anymore.’ So it was what you might call a fatal last supper. You know, you agree with me. You know, things like that should challenge us. You see, we cannot rely on them anymore.”

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Following Mr Ohai’s revelations, Mr Afolayan, one of Netflix’s favourite Nigerian collaborators, highlighted the economic challenges that will arise.

He acknowledged the economic impact, noting that the partnership provided filmmakers with financial stability to focus on their craft while earning significant revenues in foreign currency.

Reflecting on Netflix’s exit from Nigeria, Mr Afolayan expressed concerns over the impact on financial stability and creative freedom for filmmakers.

He said: ‘‘I’ve tried to avoid this because, you know, it’s very, it’s heartbreaking, you know. And it’s a big blow, you know, on us because, in my head, I’ve been thinking, how can we come from earning in dollars, like millions? And then you’re now thinking, where will I put my film?

It was exciting when we signed the three film deals with Netflix three years ago because you’ve been given a contract to work for the next three years.

‘‘They said, “We don’t care if you work for others or do different things, but make one thing for us each year.” That way, you could focus on being creative because you have a guarantee and funds to make it. But again, Netflix will tell you we’re doing this primarily for Nigeria. So, the budget you are being given is tied to what they earn or make in Nigeria. But these films are doing amazingly well all over the world.”

Mr Afolayan urged the government to invest in the industry, highlighting gaps in infrastructure and funding. He also disclosed that unlike many of his colleagues, he was fortunate to have secured a third season for his hit series Anikulapo before the platform stepped aside.

He lamented the need for more support for initiatives like film villages and renewable energy solutions.

He said: “Individuals built the industry. I mentioned yesterday that the last time the federal government gave a grant was during President Goodluck Jonathan’s administration, and many people benefited from that. Some used it to do what they promised, but some people used it to marry more wives or buy cars or, you know, all of that.

“There has never been one gesture or support from government. And I’ve reached out a few times. So I would like to plead, you know, to the federal government. All we are asking is incentives or some support towards alternative green energy or solar or whatever that can, you know, help us run, and it’s going to be of benefit to everyone’’.

Mr Afolayan also stressed the importance of establishing locally developed distribution platforms in response to Netflix’s decision. While acknowledging YouTube as a helpful alternative, he cautioned against over-reliance on global platforms, highlighting the risks posed by potential policy changes.

He said: “We need to create our distribution platform. I’m thrilled with what people do on YouTube, but most actors and talents are forced to become their distributors. So, everybody is now creating YouTube channels.

”But what if tomorrow, YouTube brings some policies that will, you know, affect our projection and all of that? ‘But now, I’m unsure how to distribute my films. So, if you make content, how do you distribute it? I won’t put that entire weight on the government. As practitioners, we can also come together and have a discussion’’.

Economic factors

Sources say Netflix’s decision to cut ties with Nigerian filmmakers is also due to the country’s dwindling economy and soaring data subscription rates affecting purchasing power, particularly subscriptions, sign-ups, and numbers.

In July 2024, Netflix increased its subscription rates in Nigeria.

Premium: N7,000 per month, a 40 per cent increase from the previous price of N5,000.

Standard: N5,500 per month, a 37.5 per cent increase from the prior price of N4,000,

Basic: N3,500 per month, from the last the previous price of N2,900.

Mobile: N2,200 per month, from the last the prior price of N1,200.