Filmmaker and adjunct lecturer Ekene Mekwunye has said that modern film festivals have evolved far beyond glamour events, becoming major commercial marketplaces where films secure distribution, licensing, and streaming deals that can reshape careers.
Speaking in an interview with ARISE News on Friday, Mekwunye explained that festivals now operate primarily as business hubs, bringing together sales agents, streaming platforms, and distributors actively searching for new content.
“Film festivals are no longer about red carpets and spotlights. They are now a market where films go and get deals that can change the lives of filmmakers,” he said.
He noted that productions such as Obsession have benefited from festival exposure, gaining access to global distribution opportunities after attracting attention from industry buyers.
Mekwunye also referenced his experience at the Now Film Festival in Paris, where his film A War opened doors to distribution partnerships, post-production collaborations, and private meetings with international industry executives.
The filmmaker also highlighted the rising cost of film production in Nollywood, describing it as a major challenge for industry growth.
He said expenses linked to logistics, actor fees, equipment, accommodation, and on-set operations significantly increase overall production budgets.
According to him, large crews, high-end camera gear, and even basic services such as catering contribute heavily to production costs.
Mekwunye also pointed to a broader issue affecting the industry: a lack of reliable data and transparency, which he said discourages institutional investment.
“If the information you are putting out cannot be trusted, it will be difficult to have a seat in the room where serious investment decisions are made,” he stated.
He added that Nollywood is gradually shifting from an informal creative space into a more structured and investment-ready industry.
On profitability, Mekwunye explained that most Nigerian films do not recover production costs solely through cinema releases.
Instead, he said the bulk of revenue comes from streaming platforms and licensing deals, which account for a significant share of industry earnings.
He stressed that this shift reflects global industry trends where digital platforms now play a dominant role in film distribution.
Mekwunye also revealed that he is exploring the use of artificial intelligence in his upcoming projects, arguing that the technology is reducing both financial and technical barriers in filmmaking.
“With AI, what used to cost one or two million dollars can now be done for about two hundred thousand,” he said.
While acknowledging concerns that AI could disrupt jobs in the industry, he argued that technological changes are a normal part of cinema history, referencing past transitions from silent films to sound and from black-and-white to colour production.
He maintained that storytelling remains fundamentally human, adding that AI only changes production tools, not emotional depth.
Looking ahead, Mekwunye expressed optimism about Nollywood’s future, noting that African films are gaining wider international acceptance.
He cited audience reactions in Paris to a Yoruba-language film as evidence that global viewers are increasingly engaging with African storytelling beyond niche categories.
“Nollywood cannot be ignored anymore. African perspectives are now mainstream,” he said.
He concluded that the industry’s future depends on balancing theatrical releases with streaming distribution, urging filmmakers to adapt to evolving global trends rather than relying on a single platform.
