Mo Abudu Dismisses Claims Of Nollywood ‘Cabal’ In Cinemas

Media mogul and CEO of EbonyLife Group, Mo Abudu, has pushed back against growing allegations of a “cinema cabal” manipulating film screenings in Nigeria. Speaking on Arise Television’s Perspectives on February 8, 2026, Abudu characterized cinema scheduling as a purely commercial endeavor driven by audience demand and return on investment (ROI).

Her comments follow weeks of heated debate where several Nollywood producers, including Toyin Abraham, Niyi Akinmolayan, and Ini Edo, alleged that certain films are being sabotaged through limited slots, unfavorable timing, or staff interference to favor specific titles.

During the discussion, veteran actress Omotola Jalade-Ekeinde noted that complaints from actors and fans have become widespread, with some reporting that cinema staff actively discourage viewers from certain movies. Abudu, who owns EbonyLife Cinemas, countered that such practices would be “illogical” for a professional business. She explained that with 900 screenings a month across her five locations, there is more than enough space for all major films. She emphasized that the primary goal for any exhibitor is to fill every seat, as running air conditioning and paying staff for empty 100-seater halls is financially unsustainable.

To illustrate her point that “no sentiment” is involved, Abudu revealed that her own daughter, Temidayo Abudu, had a film removed from cinemas last year due to poor performance. She maintained that if her own productions failed to fill seats, they too would be replaced by films with higher demand.

Abudu suggested that what some perceive as favoritism may actually be the result of aggressive marketing strategies, such as the “meet-and-greet” sessions she frequently organizes for her casts, which naturally drive higher engagement and visibility at specific locations.

The controversy highlights a deepening divide between independent filmmakers and cinema owners, particularly during the high-stakes December box office season. While the Cinema Exhibitors Association of Nigeria (CEAN) has consistently denied any systemic bias, the outcry has prompted calls for more transparent data sharing regarding ticket sales.

For now, Abudu maintains that the solution for filmmakers lies not in fighting “cabals,” but in intensifying marketing efforts to ensure that when a movie is listed, the audience is there to meet it.