Nigerian media mogul Mo Abudu has publicly dismissed recent claims that a secret “cabal” within Nollywood is working with cinema owners to control which films get screened, calling the allegations unfounded and driven by misunderstanding rather than industry reality. Speaking on ARISE Television, Abudu Chief Executive Officer of EbonyLife Group stated that decisions about cinema slotting and screening schedules are based on business considerations and audience demand, not favoritism, personal relationships, or hidden alliances. She explained that for cinema operators, the core objective is to fill seats and maximise return on investment, meaning films that don’t attract enough viewers naturally get fewer or less desirable slots. 

Abudu emphasised that this commercial reality applies to all producers equally, regardless of their status or connections. To underline her point, she even referenced a film produced by her daughter that was moved from cinemas due to low turnout a move she said was purely business, not sentimental. According to her, running cinema screens involves high operational costs like staffing, air conditioning, and electricity, and continuing to show titles with minimal attendance simply isn’t sustainable. 

Her comments come amid a growing conversation within the Nigerian film industry and on social media, where some filmmakers and fans have expressed frustration over perceived gatekeeping, unfavourable screening times, and situations where audiences feel redirected toward other movies. While veteran actress Omotola Jalade-Ekeinde acknowledged that such concerns have been voiced by actors and fans alike, she did not confirm the existence of any actual cabal. Abudu’s response seeks to shift the narrative toward market-driven explanations for how films are programmed in cinemas, such as performance metrics and audience turnout, rather than conspiratorial control. 

The debate highlights ongoing tensions between creative stakeholders and cinema operators in Nollywood, especially during peak release seasons when competition for screens and favourable showtimes is fierce. But Abudu’s stance is clear: what some describe as a “cabal” is, in her view, simply the natural outcome of commercial film exhibition where customer demand ultimately dictates scheduling and screen allocation.