WHEN ART MEETS PROMOTION FOR THE BUSINESS OF VISIBILITY: THE FUNKE AKINDELE AND KUNLE AFOLAYAN CONVERSATION

In an industry constantly negotiating the balance between artistic integrity and public attention, Nollywood recently found itself at the centre of a familiar but timely debate. Filmmaker Kunle Afolayan’s comments on the growing demands of film promotion ignited widespread conversation, particularly when linked to actress and producer Funke Akindele, whose box office dominance is often accompanied by bold, high energy marketing strategies. What followed was not casual celebrity discourse, but a revealing moment that speaks to how Nigerian cinema is redefining success in a rapidly evolving media environment. Afolayan’s remarks focused on the emotional and creative pressure created by modern promotional expectations. In an era where visibility has become a form of currency, filmmakers are increasingly required to extend their performance beyond the screen, engaging in constant online presence, trends, and audience interaction. For Afolayan, whose work is deeply rooted in cinematic tradition and disciplined storytelling, this shift raises important questions about sustainability, creative focus, and the long term health of the artistic process. Funke Akindele’s response presented a contrasting but equally compelling perspective. Rather than viewing digital promotion as a burden, she positioned it as an evolution of the industry and a necessary adaptation to changing audience behaviour. Her position reinforced the idea that there is no single formula for relevance in Nollywood, and that embracing new promotional methods should be understood as innovation rather than excess. In her view, audience connection does not end with the release of a film, but begins there, extending into sustained engagement and visibility. Public reaction to the exchange was swift and sharply divided. Supporters of Afolayan praised his defence of creative restraint and artistic focus, while Akindele’s advocates pointed to her consistent box office records as evidence that contemporary promotional strategies are effective. The conversation exposed a deeper tension within Nollywood, one shaped by the push and pull between tradition and transformation, restraint and visibility, art and algorithm. Beyond individual personalities, the exchange reflects a broader cultural shift within Nigerian entertainment. Nollywood is no longer competing solely on storytelling, but on attention in an increasingly saturated digital space. Marketing has become inseparable from creation, and filmmakers are now expected to function simultaneously as artists and brand strategists, navigating creative ambition alongside commercial visibility. Rather than framing one approach as superior, the moment invites a more nuanced reflection on coexistence. Nollywood’s continued growth depends on diversity, not only in stories, but in methods. The industry must create room for filmmakers who pursue quiet excellence and those who thrive through strategic visibility, without positioning either path as invalid. The Funke Akindele and Kunle Afolayan conversation ultimately mirrors Nollywood’s growing pains. As the industry expands its global footprint, such tensions are both inevitable and necessary. They force a critical examination of what success looks like in modern African cinema, and how art can survive, adapt, and flourish in an age defined by constant attention. In a landscape shaped by both storytelling and visibility, the central question remains whether filmmakers must choose between artistic integrity and digital relevance, or whether the future of Nollywood is bold enough to hold both.