Aug 2, 2022Liked by David I. Adeleke, Anita Eboigbe
Whilst i think that it is necessary for filmmakers to create and own the local distribution narrative, we must also keep in mind that a switch from cinema to streaming platforms is really a good thing for the industry.
For example, theres the issue of geographic reach, which streaming platforms solve.
For the later part of this piece, that analysed audience insight, lets be fair, with Nollywood movies you barely know what to expect, so it makes sense why people would prefer to watch them at their convenience instead of at a cinema.
Speaking about geographic reach, it has me thinking of demographic economics; how, whether it is streaming or cinema, it is still all very elitist and mostly inaccessible to the lower classes (who are also affected by the geography of social stratification), because of ticket prices and other reasons. Can't there be some kind of system similar to the travelling theatre troupes of the forties, where these films can reach these people?
Thanks, Kenneth. But there's also the question of revenue and income. Which strategy is currently more rewarding for the industry, and which is more rewarding in the longterm? I don't have the answers, but I'm curious to know what they are.
Asides from the obvious fact that Movies that end up on streaming platforms like Netflix, get pirated the moment they are released, which means back where we started, I really do think that a combination of both platforms, like we saw with Omo Ghetto, would be more rewarding for all involved.
This used to be the model. Six months in the cinema and private screenings, before streaming platforms. But the cinema model is increasingly becoming unattractive as the sharing model (between distributors, exhibitors, filmmakers and taxes) no longer make sense when the streaming option exists.
Aug 2, 2022Liked by David I. Adeleke, Anita Eboigbe
Amazing and very insightful!👏🏽 However I think one should also ask that if distributing to cinema actually favored the filmmakers, would they have rushed to make the switch to the streaming services?
This is actually what makes streaming attractive to the filmmakers. The profit margin from cinemas is small and one has to do huge numbers to cover the gap because the sharing of earnings from cinema distribution puts the filmmaker in an awkward position.
Aug 3, 2022·edited Aug 3, 2022Liked by David I. Adeleke
A deep analysis, great content. I'd also love to read the story about Francophone African films strategy. Dynamics are different but there is a common trend, over the last few years (pre pandemic) some films debuted in cinema and recorded positive appraisal (no public data available). Dakar currently has only 2 permanent cinemas (1 has 1 screen, the other 3 screens) and they feature strictly the same films ... including at least 1 to 3 Nollywood movies per week. I noticed that Nollywood movies are now part of the habit, most certainly because of Francophone audience growing interest for Nollywood on pay TV channels. Coming back to Nigerian cinema industry, the option to favor Netflix or Amazon Prime will certainly also limit the availability of films in cinema elsewhere on the continent. While in Senegal, a potential shift worth observing is the positioning of a new cinema in Dakar from French network Pathé Gaumont opening by end of 2022 (7 screens, 1400 people), will there be -enough- space for African films including Nollywood production?
Enjoyed this. Can we also look at it from the angle of consumers, some of us are moving away from Netflix and other streaming platforms because the content seems a bit too leftist and also because of crackdowns on password sharings I guess.
Whilst i think that it is necessary for filmmakers to create and own the local distribution narrative, we must also keep in mind that a switch from cinema to streaming platforms is really a good thing for the industry.
For example, theres the issue of geographic reach, which streaming platforms solve.
For the later part of this piece, that analysed audience insight, lets be fair, with Nollywood movies you barely know what to expect, so it makes sense why people would prefer to watch them at their convenience instead of at a cinema.
Great piece 👏🏽👏🏽
Speaking about geographic reach, it has me thinking of demographic economics; how, whether it is streaming or cinema, it is still all very elitist and mostly inaccessible to the lower classes (who are also affected by the geography of social stratification), because of ticket prices and other reasons. Can't there be some kind of system similar to the travelling theatre troupes of the forties, where these films can reach these people?
I strongly agree with this and data supports it. Hopefully, the stakeholders see how much money they are still leaving on the table.
Thanks, Kenneth. But there's also the question of revenue and income. Which strategy is currently more rewarding for the industry, and which is more rewarding in the longterm? I don't have the answers, but I'm curious to know what they are.
As am i.
Asides from the obvious fact that Movies that end up on streaming platforms like Netflix, get pirated the moment they are released, which means back where we started, I really do think that a combination of both platforms, like we saw with Omo Ghetto, would be more rewarding for all involved.
This used to be the model. Six months in the cinema and private screenings, before streaming platforms. But the cinema model is increasingly becoming unattractive as the sharing model (between distributors, exhibitors, filmmakers and taxes) no longer make sense when the streaming option exists.
Yeah, maybe the best way forward is to delay the time between cinema runs and moving to streaming. 6 months to a year, maybe.
Exactly.
Amazing and very insightful!👏🏽 However I think one should also ask that if distributing to cinema actually favored the filmmakers, would they have rushed to make the switch to the streaming services?
This is actually what makes streaming attractive to the filmmakers. The profit margin from cinemas is small and one has to do huge numbers to cover the gap because the sharing of earnings from cinema distribution puts the filmmaker in an awkward position.
A deep analysis, great content. I'd also love to read the story about Francophone African films strategy. Dynamics are different but there is a common trend, over the last few years (pre pandemic) some films debuted in cinema and recorded positive appraisal (no public data available). Dakar currently has only 2 permanent cinemas (1 has 1 screen, the other 3 screens) and they feature strictly the same films ... including at least 1 to 3 Nollywood movies per week. I noticed that Nollywood movies are now part of the habit, most certainly because of Francophone audience growing interest for Nollywood on pay TV channels. Coming back to Nigerian cinema industry, the option to favor Netflix or Amazon Prime will certainly also limit the availability of films in cinema elsewhere on the continent. While in Senegal, a potential shift worth observing is the positioning of a new cinema in Dakar from French network Pathé Gaumont opening by end of 2022 (7 screens, 1400 people), will there be -enough- space for African films including Nollywood production?
Great perspective, actually. Thanks, Marjolaine. We'll consider doing a follow up and the writer will reach out to you. Is that okay?
With pleasure. Happy to continue the conversation
Hi Marjolaine,
This is Anita. Thank you for your insights.
Can't wait to continue this conversation with you.
Enjoyed this. Can we also look at it from the angle of consumers, some of us are moving away from Netflix and other streaming platforms because the content seems a bit too leftist and also because of crackdowns on password sharings I guess.
Wonder what the future holds for us?
Thank you so much for reading.
This is an interesting perspective and I would definitely explore it.