Explainer: The Nollywood Rift – What Really Happened Between Funke Akindele and Kunle Afolayan?

In the fast-paced world of Nollywood, where box office records are shattered and social media buzz can make or break a film, a recent exchange between two industry heavyweights has sparked widespread debate. Funke Akindele, the queen of Nigerian cinema with her blockbuster hits, and Kunle Afolayan, a celebrated filmmaker known for his artistic depth and Netflix collaborations, found themselves at the center of a public spat over movie promotion strategies and financial realities. What started as candid remarks from Afolayan escalated into veiled social media responses from Akindele, a tense phone call, and an apology. For those unfamiliar with the drama, here’s a step-by-step breakdown of how it all unfolded, why it matters, and what it reveals about the evolving Nigerian film industry.

Who Are Funke Akindele and Kunle Afolayan?

To understand the controversy, it’s essential to know the players involved. Funke Akindele is one of Nollywood’s most successful actresses and producers, famous for her “Jenifa” franchise and high-energy promotional tactics. She’s a master of social media marketing, often creating dance videos, comedy skits, and engaging content to hype her films. Her latest release, Behind The Scenes (2025), grossed over N2.4 billion at the box office, cementing her as Nollywood’s highest-grossing filmmaker. Akindele’s approach emphasizes mass appeal, cinema runs, and building a loyal fanbase through relentless online visibility.

Kunle Afolayan, on the other hand, is a veteran director with a reputation for culturally rich, festival-worthy films like The Figurine (2009) and the Netflix series Aníkúlápó. He’s the son of legendary filmmaker Adeyemi Afolayan (Ade Love) and has focused on storytelling that blends Yoruba heritage with global appeal. Afolayan has been vocal about the industry’s challenges, including the shift toward streaming platforms and the pressures of modern marketing. Unlike Akindele’s cinema-centric model, he often prioritizes sustainable production over exhaustive promotions.

Both are titans in Nollywood, but their styles differ: Akindele thrives on viral, high-volume hype, while Afolayan leans toward artistic integrity and long-term viability. This contrast set the stage for the clash.

Afolayan’s Initial Comments on Promotion Fatigue (Late January 2026)

The spark ignited during two public appearances by Afolayan. First, at a watch party for his Netflix series Aníkúlápó: The Ghouls Awaken, he questioned the real financial benefits of massive box office success. “I don’t want two billion streams at the cinemas and end up receiving ten million naira,” he said, highlighting a perceived disconnect between hype, ticket sales, and actual payouts to filmmakers. Many interpreted this as a subtle critique of blockbuster films that rack up huge numbers but may not translate to proportional earnings after cinema cuts, distributor fees, and other costs.

Then, at the Lagos Business of Film Summit, Afolayan doubled down on the toll of current marketing trends. Reflecting on his early career, he recalled promoting films in 2006 with “all the runs,” including dancing in London. But now, he found it unsustainable: “It is draining. I want to make a film if you can guarantee I don’t have to dance to sell that film. We need to come up with other strategies. How do we sell without exhausting ourselves?”

He specifically name-dropped Akindele: “I don’t know how the likes of Funke Akindele and others are doing it — creating skits every day, changing costumes all the time. I can’t do it.” Afolayan wasn’t outright criticizing her; in fact, he seemed to admire her stamina. But in an industry rife with competition, his words were seen by some as shading Akindele’s style as overly performative and exhausting, implying it wasn’t for “serious” filmmakers.

As earlier reported by NaijaChoice News, these remarks quickly went viral, fueling online discussions about whether Nollywood’s promotion game favors spectacle over substance.

Funke Akindele’s Fiery Response on Social Media (January 31, 2026)

Akindele didn’t stay silent. On January 31, she took to her Instagram Stories with a series of posts that appeared to directly address Afolayan’s comments, though she didn’t name him. “I’m not the one hindering your progress. Ka rin ka po, yiye nin ye ni,” she wrote in Yoruba, roughly translating to “Walk your walk; there’s room for everyone.”

She escalated: “If you can’t beat them or join them, create your own path. No allow jealousy burn you. The sky is so big for everybody to fly.” Akindele urged critics to innovate rather than complain: “Go ahead and create alternative promotion or marketing strategies for promoting your business, or hire a company to handle it. You can do it. The opportunities are endless, and everyone has their own path. I’m focused on mine, and I have faith in God’s plan for me.”

Fans and media outlets linked these posts to Afolayan, interpreting them as a clapback against perceived envy. Akindele’s words highlighted a key tension: Is the industry big enough for diverse approaches, or does one style (like hers) dominate and “hinder” others? Her response went viral, with supporters praising her for defending her grind, while others accused her of overreacting.

The Tense Phone Call and Public Backlash

Behind the scenes, things got personal. In a February 1 interview on Arise TV, Afolayan revealed that Akindele had called him directly after his summit comments. “She called, and she said, ‘I know you don’t like me, but don’t mention my name in your interviews,’ she was yelling, and she dropped the phone after that,” he shared. Afolayan expressed surprise, insisting his remarks were not meant to offend: “She said, ‘I know you don’t like me, it was weird’, and I was like, where is this coming from?”

He clarified that he has “absolutely nothing against Funke Akindele” and often encourages young filmmakers to emulate her success. “If for any reason she feels offended, I am sorry,” he added, while criticizing the online backlash that followed. Afolayan also mentioned a more positive interaction with another colleague, Toyin Abraham, who understood his point and even turned it into a skit.

Social media erupted. X (formerly Twitter) users debated the feud, with some siding with Akindele for her hard work and others defending Afolayan as simply voicing industry frustrations. Posts suggested underlying rivalries, including past comments from Afolayan distinguishing “festival films” from “local” blockbusters. Industry insiders like Shaffy Bello and Mo Abudu have echoed similar concerns about promotion fatigue, indicating this isn’t isolated to these two.

Broader Context – What’s Really at Stake in Nollywood?

This isn’t just celebrity drama; it reflects deeper shifts in Nigerian cinema. Post-COVID, Nollywood has boomed with cinema releases, but promotion has become a full-time job. Akindele’s model – aggressive social media campaigns – has proven lucrative, but it requires immense energy and resources. Afolayan’s stance highlights sustainability: Many filmmakers burn out or can’t compete without big budgets for skits and dances.

Financially, Afolayan’s point about earnings is valid. Box office grosses (e.g., N2.4 billion for Behind The Scenes) don’t all go to producers; cinemas take 50% or more, plus taxes and fees. Streaming deals, like Afolayan’s with Netflix, offer upfront payments but less viral hype.

The feud also touches on jealousy and gatekeeping allegations. Some accuse Akindele’s fans of “gang-ups” against rivals, while others see Afolayan’s comments as elitist, dismissing “commercial” films as inferior. Ultimately, both agree the industry has room for all – but executing that in practice is tricky.

What Happens Next?

As of February 1, 2026, Afolayan has apologized publicly, and Akindele hasn’t responded further. Whether this leads to reconciliation or more tension remains unclear. For fans, it’s a reminder that behind the glamour, Nollywood grapples with real pressures. Akindele continues promoting Behind The Scenes, while Afolayan focuses on his stories in development.

In the end, this saga underscores a key lesson: Success in entertainment comes in many forms. As Akindele said, “The sky is so big for everybody to fly.” Nollywood’s future might depend on embracing that diversity – without the exhaustion or envy.