Mo Abudu Denies Claims of Cabal Influencing Cinema Screenings in Nigeria

Nigerian media mogul Mo Abudu has strongly denied allegations that a group within Nollywood is working with cinema operators to reduce the screening time of certain movies. She addressed the claims during an interview on ARISE TV, stating that cinema decisions are based strictly on business performance and audience demand, not favoritism.

The allegations, which have circulated widely on social media, suggest that some filmmakers are being unfairly pushed out of prime screening slots. However, Abudu insisted that such a practice would not make financial sense for cinema owners, whose primary goal is to keep theaters filled.

Veteran Nollywood actress Omotola Jalade-Ekeinde, who also joined the discussion, acknowledged that many actors and fans have raised similar concerns. She noted that some moviegoers claim they were persuaded to watch certain films instead of the ones they originally planned to see.

In response, Abudu maintained that cinemas operate as commercial businesses and cannot afford to run nearly empty screenings. She used EbonyLife Cinemas, which she owns, as an example, explaining that profitability depends on ticket sales and consistent audience turnout.

According to her, cinema schedules are regularly adjusted based on how well a film performs. If a movie draws very small audiences, it becomes difficult for cinemas to justify the operational costs of running those screenings, including electricity, air conditioning, and staff salaries.

Abudu explained that EbonyLife Cinemas alone runs multiple screens daily, offering hundreds of screening slots every month. She said this creates enough opportunities for different films to be shown, but only those that attract viewers can retain favorable time slots.

She further stressed that no filmmaker, including herself or her family, receives special treatment. To support her point, Abudu revealed that a movie produced by her daughter, Temidayo Abudu, was removed from cinemas when it failed to attract enough viewers. She said the decision was purely business-driven, not personal.

The media entrepreneur concluded by emphasizing that cinema operators must prioritize return on investment above all else. In her view, the survival of cinema businesses depends on showing films that audiences are willing to pay to see, not on loyalty or industry relationships.