Mo Abudu Denies Claims of Cinema Cabal in Nollywood

Media entrepreneur and Chief Executive Officer of EbonyLife Group, Mo Abudu, has dismissed claims that a cabal exists in Nollywood working with cinema owners to limit or deny certain films access to screening slots. She described such allegations as false and not reflective of how professional cinemas operate.

Speaking during an interview on ARISE Television, Abudu explained that cinema scheduling is guided strictly by business considerations and audience demand rather than favoritism, sentiment, or personal relationships. Her comments come amid growing complaints from filmmakers and cinema patrons who allege that some films are removed from schedules or replaced without notice, while audiences are sometimes persuaded to switch movies after purchasing tickets.

Veteran actress Omotola Jalade Ekeinde acknowledged during the discussion that such complaints have become widespread in the industry, noting that both actors and moviegoers have shared similar experiences publicly. However, Abudu was firm in her response, stating that such practices do not occur at EbonyLife Cinemas.

According to her, cinemas depend heavily on full seats to remain viable. She noted that EbonyLife operates multiple cinemas with numerous daily screenings, providing ample opportunity for films to be shown. Abudu added that it would make no commercial sense for any cinema to deliberately block a film that has the potential to attract audiences.

She further explained that screening schedules are often adjusted based on performance. Films that consistently draw very few viewers may lose certain time slots due to the high cost of running cinemas, including power supply, air conditioning, and staff wages. Such decisions, she stressed, are purely operational and apply equally to all producers.

To reinforce her point, Abudu revealed that a film produced by her daughter had previously been removed from cinemas due to poor turnout. She emphasized that ownership or status does not influence decisions, as profitability and sustainability remain the primary considerations.

Her remarks come at a time of heightened tension between filmmakers and cinema operators, particularly during peak seasons when competition for screening space is intense.