At different periods in Nollywood, certain names commanded screens, conversations and viewers’ imaginations. They were the faces we couldn’t escape, leading men who defined the era of home videos, shaped archetypes, and carried blockbusters on their shoulders.
From drama kings and romantic stars to comic reliefs and rugged villains, they ushered Nollywood into mainstream popularity across Africa and beyond. But as the industry evolved, so did some of these once-prominent actors who quietly stepped back from the spotlight.
This list revisits ten Nollywood actors who were once household names and tracks where life has taken them since their peak screen moments. Some have gracefully transitioned into completely new careers, others have remained in the creative space, and a few have simply chosen quieter lives, far removed from fame and entertainment.
Here are 10 Nollywood actors who once had the spotlight and where they are now.
Used to: Be one of Nollywood’s most charismatic actors
Best known for: Playing Echedoh in Irretractable Mistake
Now: In politics
Bob-Manuel rose during Nollywood’s early home-video boom and became the go-to actor for both lead and high-impact supporting roles in the 2000s. He later expanded into directing and producing in the 2010s and has even received lifetime and industry recognitions since then.
In 2022, he was appointed by Anambra State governor Chukwuma Soludo as a special adviser on entertainment, leisure and tourism. That move formalised his shift toward public service.
Best known for: Playing Eddy in The Evil Inside Me
Now: A film director and church minister
Charles Okafor was a popular face in classic Nollywood dramas like Domitila and Computer Girls, before he moved his main focus to projects with moral and religious themes in the late 2010s.
Since then, Charles has taken fewer on-screen parts to concentrate on directing, public speaking, ministry and advocacy. In a recent sit-down episode of Selahmediate Podcast, he stated that while he’s deeply involved in Christian work and faith-based outreach, he remains a filmmaker, contributing behind the scenes to the industry that gave him a platform.
There are dozens of popular Nollywood movies with Desmond Elliot as the leading man. He was that huge. He built a high-profile acting and directing career from the 2000s to the 2010s.Then in 2014, he declared his interest in politics.
By 2015, he had become active in politics. That year, he won a Lagos Assembly seat and was re-elected in 2023, representing Surulere, transforming his public identity into an actor-turned-politician.
Used to: Be one of the early popular English-Yoruba actors
Best known for: Playing Father Stephanus in Cross My Sin
Now: An entrepreneur
Femi Ogedengbe was a familiar face in Nollywood during the late 1990s and 2000s, often appearing in Yoruba and English-language films where he carved a niche as a versatile supporting actor. He was a consistent performer who became part of the wave of actors who kept Nollywood buzzing during its VHS and early VCD era.
However, Ogedengbe eventually stepped away from Nollywood. Citing frustrations with the industry, particularly issues of exploitation and lack of financial reward, he relocated to the United States. He once stated that he worked in private security when he landed in the Land of the Free. Now, he’s a businessman there.
Kenneth Okonkwo was a star of early Nollywood landmarks, became a household name after Living in Bondage (1994), and was a bankable leading man in films of the 1990s and 2000s. He’s known for a wide variety of roles across a long list of movies and television soap operas like Ripples.
In subsequent years, he has remained publicly visible as a political commentator and participant. He’s popularly known for working for the Labour Party and presidential candidate Peter Obi in the 2023 general elections.
Jimmy Odukoya was an emerging Nollywood actor in the late 2010s and 2020s. He acted in movies and series such as Crazy Grannies, Husbands of Lagos and had a role in The Woman King.
For many years, he balanced acting with ministry. But after the passing of his father, he took on senior leadership at Fountain of Life Church in 2023, stepping back from Nollywood to focus on God’s work.
7. McMorris “Terror D’Archangel” Ndubueze
Used to: Nollywood’s bad boy
Best known for: Playing Terror D’Archangel in War Game
Now: He’s a medical doctor
The actor was widely remembered for cult and tough-guy roles and popularly known in the industry with the stagename Terror D’Archangel.
However, McMorris Ndubueze has since left the entertainment industry and has become a medical doctor in the United States. His career change is part of a larger trend of Nigerians relocating abroad for new professional opportunities, AKA, Japa.
Sam Dede began his acting career in 1995 and gained prominence for his role in the movie Ijele. He is also well-known by the nickname Ebube, which he earned from his lead role in Issakaba, an action movie about fighting crime, that became a cultural touchstone in Nollywood. Dede is often associated with “tough guy” or action-hero roles, showcasing a physical and intense screen presence.
These days, Sam Dede is a rarity in movies. He’s now mostly behind the scenes as a director and an academic lecturing students and mentoring younger actors.
Get More Zikoko Goodness in Your Mail
Subscribe to our newsletters and never miss any of the action
Used to: Be one of Nollywood’s popular comedic actors
Best known for: Playing Adindu in Onye-Eze
Now: He’s an events host and MC
Victor Osuagwu is a veteran Nigerian actor and comedian widely known for his comical, often mischievous characters. In 2013, he assumed a leadership position within the industry and became president of the Lagos State chapter of the Actors Guild of Nigeria (AGN). After he left the position, he appeared less in movies and industry glitz.
But if you think his absence from TV means he has been inactive, you’re wrong — Victor Osuagwu is now an MC, event manager and owner of Victor Osuagwu Feed A Child Foundation.
10. Zack Orji
Used to: A power figure in old Nollywood
Best known for: playing Obidike in Last Warning
Now: A pastor and public speaker
Zack Orji is considered a veteran in Nollywood. He began his career in 1991 with his debut film, Unforgiven Sin. He’s also known for his roles in classic films like Glamour Girls (1994) and Blood Money (1997). Orji also once served as the national president of the Actors Guild of Nigeria (AGN).
In 2012, he took a step back from acting and the limelight after Bishop Lawrence Osagie ordained him a pastor. Since then, he has been preaching in and out of Nigeria.
When the world first began watching Rodney on TikTok, he was a different person.
Born in Anambra and raised in Abuja, he was a student and a dancer with dreams of becoming a star. But life, as he quickly learned, isn’t as easy to choreograph. While his passion for dance propelled him to viral fame, it also plunged him into a whirlwind of overnight celebrity, financial exploitation, and hard-earned lessons in trust and resilience.
This is the story of Rodney’s evolution — from a shy, aspiring student to a digital superstar with over 7.3 million followers — and his fight to keep his voice and credibility intact.
This is Rodney’s story as told to Marv.
The first time I realised my life was changing was back in 2021. I was walking through my neighbourhood on my way to buy bread for my family when, out of nowhere, a group of children recognised me.
“Rodney! Rodney! Ehh. He’s the one! Rodney!” they shouted. I froze, caught off guard, as their voices echoed down the street.
I was in old, faded clothes and slippers, completely unprepared for that kind of attention. They wanted pictures, and I had no choice but to pose. That moment, as overwhelming as it was, planted a seed: people were noticing me, not just online, but in real life. It was exhilarating, but it also made me start paying attention to how I looked when going out, even if it was just to school.
Before TikTok, my life had been… just there. I was studying International Relations, coasting through classes I didn’t fully understand. Dance was mostly a hobby. I started back in secondary school and eventually joined a group called Dark Illusion, which, looking back, is a crazy name, but I thought it was cool at the time.
My friends always hailed me as a good dancer, and while I didn’t overthink it, I did have this Step Up-inspired fantasy where I’d show up at university, show off my dance skills, and somehow become famous.
But when I got to uni, I quickly realised how delusional I’d been. Adulthood hit me hard, and I had to hustle just to survive.
I kept dancing, but mostly as a way to pay small bills. I’d earn maybe ₦3,000 for a performance at a departmental pageant, a fresher’s party or some faculty event — just enough to cover some basic expenses.
I danced through 100 and 200 level, until COVID hit in the second semester of my 200 level, bringing everything to a standstill.
During the lockdown, I was stuck at my parents’ house on the outskirts of Abuja. With no events or parties happening, my focus shifted. Instead of performing live, I started pouring my energy into social media, posting more dance videos on Instagram and TikTok.
By the time I was returning to school, I already had some online recognition — around 300 thousand followers on Instagram and TikTok, though the latter had the biggest following. Back then, TikTok was still new, creators were few, and having a following made people assume you were a big deal.
But for me, it still felt small. I was posting out of boredom, mostly repurposing the same dance content I’d been sharing on Instagram. The growth was slow at first. My TikTok views were low compared to my following, and that’s when I realised that being on the app wasn’t enough. I needed to hop on trends and make quality content.
Then one skit changed everything. It was a funny take on African parents who don’t show romance despite having up to 10 children. It exploded to around 100,000 views. I was shocked and excited.
Before TikTok, I didn’t see myself as a funny person beyond my friend group. We’d troll and joke about situations, but it was all casual. TikTok gave me the confidence to really try comedy.
So, I started mixing in skits with my dance videos, and the audience responded more to the skits. So, I let my dance evolve and mix with comedy. I was still dancing, just in a goofy, funny way that fit my audience and even allowed me to reach more people.
But shooting videos back then was rough for a while. We didn’t have Jamboxes, so the sound came straight from the phone as we recorded. I even had to borrow a friend’s phone just to make content.
Data was another struggle. I relied on night plans to upload videos and check engagement. Slowly, the effort started to pay off — I was gaining traction, making a bit of money online, and settling bills myself.
Still, growth was slower than I would have liked, mostly due to my camera quality. It matters more than people think. So, I saved up from the content and brand advertising gigs I got and borrowed a little from friends to get an iPhone 6.
The difference was almost immediate.
The first month using it, one of my videos blew up, hitting a million views in a week. Followers started growing exponentially, sometimes 100k a week, other times 100k in a day.
That’s when I knew this was not just fun anymore. This was now a business.
My popularity in school also exploded. Soon, I couldn’t walk around campus without someone secretly recording me to post on TikTok or freshers going crazy.
So, I started showing up only when I had strict lectures or exams. Thankfully, my classmates already knew me, so I could navigate without too much fuss. My friend group remained small and loyal, unaffected by my growing popularity. Others became acquaintances, riding the wave of my fame, but willing to help when needed.
Despite all that, I started questioning if I still needed school at all. But I had to push through. My parents never allowed me to rest, and that constant pressure, combined with my own determination, meant I couldn’t stop. I didn’t take breaks in the traditional sense, though I wasn’t present for all my lectures, especially in 400 level, where it was mostly project work.
The thought of quitting school never left my head, but I chose to see it through to the end. I got my degree.
Around this time, I began charging more for gigs. I furnished my space, bought better equipment and improved my content quality. My parents, especially my dad, were sceptical at first. But over time, he saw the money coming in, heard people talking about me, and even started watching my videos.
He eventually gave me his blessing, with one condition: that I chase my dream without compromising my morals. That blessing lit a fire in me. I went harder with my content, posting more, taking on bigger opportunities and getting recognition.
That was when I met my supposed manager. At first, he was just a loyal client who brought multiple gigs. Eventually, he positioned himself as someone who could help me grow.
When we met for the first time in Lagos in 2021, the only time we ever met, he claimed to have industry connections. At first, he seemed helpful. He secured a couple of gigs, and I thought, maybe this will be my big break.
He was a free agent with no structure, so he started manipulating payments. If a brand paid him ₦2,000 naira for my service, he would tell me I only earned ₦100. And it was from that same ₦100, he would collect his 30% manager fee.
He was a manipulative gaslighter who pretended to care about my career while exploiting me. He presented himself almost as a big brother, giving me a false sense of security. There was one brand that supposedly hadn’t paid, yet I found out months later that they had. I had to reach out to them directly, only to be shown receipts. Over time, I realised I’d lost tens of millions of naira to his schemes.
Get More Zikoko Goodness in Your Mail
Subscribe to our newsletters and never miss any of the action
During this period, I tried to branch into music. My first song, “Wisdom Drill,” started as a parody video, but fans loved it, so I put it on streaming platforms. In early 2023, I considered releasing another track. My manager convinced me to host a listening party, promising it would boost streams.
I was hesitant about the cost, but he assured me it would be worth it. I ended up spending nearly ten million naira on the event. People showed up, but the experience exposed how disorganised everything was, and how badly I needed a proper team.
By first the quarter of 2023, I was broke, struggling to survive on the little I had left. I even had to reach out to brands myself, realising that he had been sabotaging my career. The revelation was devastating, but it pushed me to reclaim control. I confronted him, threatened to call him out publicly, and the next day, he blocked me. When I tried to travel to Lagos to see him, I found out that he had even left the country, leaving me completely on my own. Last time I heard about him, he was in China.
His actions didn’t just rob me financially, they threatened my credibility. Brands began reaching out with legal threats, and his explanations were vague, often non-existent. I had no choice but to clean up the mess he created. It was exhausting and infuriating. Yet, it also forced me to recognise my value and the importance of taking control of my career.
Recovering from that betrayal meant starting fresh. I posted online to declare that I was no longer affiliated with him. Transparency became my guiding principle. I joined a new team that was honest, professional, and structured, giving me the support I needed to rebuild. That fresh start helped me regain credibility, attract brands again, and focus on my craft without interference.
Looking back, the journey taught me resilience. It taught me to trust my instincts, to value my work, and to understand that even in moments of overwhelming visibility, control over your own career is paramount.
By the time I had my father’s blessing and started creating with confidence, I realised something crucial: the money, the followers, and the fame were just tools. The real victory was taking charge, refusing to be manipulated, and ensuring my creativity and hustle were respected and protected.
With the rise of Netflix in Nigeria, Nollywood content has very quickly proliferated on the American streaming platform. But not all the content on the platform is worth your time.
In this curated list for September 2025, we highlight ten Nollywood movies streaming on Netflix with gripping storytelling and strong performances, perfect for both first-time viewers and longtime fans.
Whether you’re drawn to suspenseful crime dramas like Yahoo+ or emotional narratives like In Line, there’s something here for every viewer.
Here are the 10 best Nollywood movies to watch on Netflix this September 2025.
After the death of his father, Ahanna Okolo (Stan Nze), a young man from modest beginnings, turns to crime as a means of survival. What starts as desperation soon evolves into ambition, as he builds a reputation in the criminal underworld while maintaining the façade of a respectable businessman.
As Ahanna’s double life grows more precarious, betrayal and shifting loyalties close in, forcing him to confront the costs of his choices. This Ramsey Nouah thriller is less about the mechanics of heists than the fragile line between survival and corruption, asking what justice can mean when crime becomes the only path forward.
Twin sisters separated at birth grow into strikingly different women: Lefty (Funke Akindele), a sharp-tongued hustler hardened by ghetto life, and Ayomide (also Akindele), a polished professional raised in privilege. When Ayomide returns to Nigeria, their paths cross, pulling her into Lefty’s volatile world of street battles, loyalty tests and survival schemes.
What begins as a clash of personalities unfolds into an uneasy bond, as the sisters struggle to reconcile the worlds that shaped them. This comedy-drama plays as both a riotous portrait of Lagos street life and a tender exploration of family ties stretched across class and circumstance.
Adaora Philips (Nse Ikpe-Etim), a successful Lagos realtor, is swept into a whirlwind romance with Jaiye (James Gardiner), a younger man whose charm masks a darker core. Their marriage quickly unravels as his controlling nature comes to light, exposing layers of deceit, infidelity, and a devastating betrayal in the form of an unauthorised hysterectomy that upends Adaora’s life.
With her world collapsing, Adaora leans on her sisters, Beatrice (Padita Agu) and Cheta (Nancy Isime), as she confronts the wreckage of love gone wrong. The strength of this drama-thriller is that it is both intimate and unsettling, a portrait of manipulation and resilience that asks how much one must lose before reclaiming power.
In Ebuka Njoku’s Yahoo+, two struggling actors, Ose (Keezyto) and Abacha (Somadina Adinma), abandon their dreams of stardom for a quicker, darker path: cyber fraud. When the petty scams prove unprofitable, they are drawn deeper into “Yahoo+,” a brutal hybrid of online swindling and ritual sacrifice, orchestrated by the calculating fixer Ikolo (Ken Erics).
Their descent is mirrored by Kamso (Echelon Mbadiwe) and Pino-Pino (Ifeoma Obinwa), young women bound by transactional relationships, each caught in the same web of precarity and compromise. The film plays as a taut morality tale about ambition and desperation in a society where survival itself demands dangerous bargains.
Biodun Stephen’s The Wildflower unfolds as a triptych of survival, tracing the lives of three women across generations bound by the shared weight of male violence. Rolake (Damilare Kuku), an ambitious architecture graduate, secures a coveted role under CEO Gowon Williams (Deyemi Okanlawon), only to find her career ambitions thwarted by harassment and assault.
Parallel stories reveal Mama Adaolisa (Toyin Abraham), long scarred by years of domestic abuse, and her daughter, Adaolisa (Sandra Okunzuwa), whose life is upended by the predation of a neighbour. Woven together, their experiences form a sombre meditation on resilience, silence, and the steep cost of confronting power in a society that too often looks away.
Bolanle Austen-Peters’s Man of God traces the restless journey of Samuel Obalolu (Akah Nnani), the son of a stern pastor (Jude Chukwuka) whose rigid faith leaves little room for dissent. Escaping to university, Samuel embraces the liberations of youth—music, romance, and a precarious sense of independence—only to find himself pulled back into the very institution he once fled.
Reinvented as a charismatic church leader, Samuel builds a ministry that thrives on spectacle and influence. Yet beneath the prosperity lies a man shadowed by guilt and betrayal, haunted by the choices that delivered him to power. The film becomes less a tale of religious triumph than a portrait of spiritual disquiet, asking what remains when faith is eclipsed by ambition.
Tope Oshin’s In Line unfolds as a taut marital drama about trust, betrayal, and the scars of past choices. Debo (Uzor Arukwe), recently released from prison, is determined to rebuild his life, but the weight of suspicion lingers. His wife, Kate (Adesua Etomi), has carried the burden in his absence—sustaining his advertising business and preserving the semblance of a shared future.
When paranoia takes hold, Debo enlists the help of a private investigator, Bella (Sika Osei), whose motives prove more ambiguous than expected. What follows is less a story of crime than of erosion—the slow unravelling of intimacy under the strain of secrets and mistrust. In Oshin’s hands, marriage becomes its own kind of prison, where love and loyalty are tested against the darker instincts of fear.
Ramsey Nouah’s Tokunbo is a study in desperation and the shadows of past sins. At its centre is Tokunbo (Gideon Okeke), a reformed car smuggler who has traded his outlaw days for the quiet stability of family life. That fragile peace collapses when his young son falls critically ill, pulling him back toward the orbit of Gaza (Chidi Mokeme), the ruthless former boss he had tried to escape.
What begins as a plea for financial salvation spirals into a descent: a perilous assignment to deliver Nike (Darasimi Nnadi), the kidnapped daughter of a government official, into the hands of her captors. Nouah frames Tokunbo’s return to crime less as a heist than as a moral reckoning, in which the cost of survival collides with the price of lost integrity.
A Lot Like Love begins as a marriage drama and veers, with startling swiftness, into a hostage thriller. Fanna (Rahama Sadau), an industrious heiress, finds her union with Abdul (Ibrahim Suleiman) — her father’s loyal aide — fraying under the weight of her career. Hoping to mend the cracks, her father sends them on a romantic retreat to Turkey.
Instead of reconciliation, they encounter violence: armed men intercept the trip, holding the couple for ransom. Drawn into the crisis are Fanna’s confidante, Sadiya (Sophie Alakija), and her former lover, Mustapha (Gabriel Afolayan), complicating both the negotiations and the emotional stakes.
Beneath its kidnappings and betrayals, the film traces the fragility of love under siege, and the uneasy bargains made in the name of survival.
Adire situates its heroine at the fault lines of reinvention and repression. Kehinde Bankole plays Adire, a former sex worker who absconds with her boss’s money and resettles in a small Oyo State town. There, she recasts herself as a lingerie designer, working with Yoruba adire cloth to create garments that are at once intimate and subversive. Her craft becomes a quiet revolution, offering women in the community agency.
But empowerment does not come without resistance. Adire’s arrival unsettles the town’s fragile moral order, provoking the ire of the Deaconess (Funlola Aofiyebi-Raimi), a church leader who sees in her work both impropriety and competition. As the film unfolds, Adire’s past threatens to encroach, even as the new identity she has stitched together offers the possibility of redemption.
Nollywood has always had a special way of blending entertainment with life lessons, and nowhere is that more evident than in its Christian movies. These movies are snapshots of how faith, family, temptation and redemption play out in Nigerian society.
From tales of betrayal and forgiveness to thrilling spiritual battles between light and darkness, Nollywood’s Christian movies have a reputation for being as dramatic as they are inspiring. They give us flawed but relatable characters. And while you’re getting drawn into all the twists and turns, the stories sneak in powerful lessons about resilience, hope, and the belief that God shows up even in the messiest situations.
Thanks to YouTube, many of these classics and new releases are just a click away. Whether you want something uplifting, reflective, or so dramatic, this list has you covered.
Here are the 10 best Christian Nollywood movies to watch on YouTube right now.
John (Fiyinfolu C.P. Okedare) is a young devout Christian who has just completed his undergraduate studies with a third-class degree. Despite his academic setback, John remains steadfast in his faith, believing his success is not tied to earthly achievements but to God’s high calling on his life.
In contrast, his brother Edward (Damilola Mike-Bamiloye) and their father (Kayode Owojori) dismiss John’s church involvement as excessive. Edward views Christian service as “religious stuff,” and their father pressures them into secular priorities based on life’s harsh realities. The movie looks at how at one stays steadfast on the face of immense pressure.
Kay (Tioluwalogo Olakunbi-Black) and Jay (Ibitoye Ayodele) are two down-on-their-luck friends, forever running late. One morning, Kay’s marathon prayer session—and an unexpected visit from their pastor—delays them even further. By the time they set out, it isn’t for work or a job interview, but for a meeting with a babalawo preparing a ritual meant to secure their success.
Just as they are about to seal the deal, fortune seems to smile on them. They abandon the ritual, convinced they no longer need it—only to discover that walking away from a covenant is never that simple.
Sunny Peters’s comedy-drama probes the uneasy intersection of faith, desperation, and superstition in contemporary Nigeria, asking what people are willing to risk in the pursuit of prosperity.
From the start, Felix (Joshua Banjo) and Glory (Aanu Kolade) believe their union has been divinely ordained. A prophecy seals their love, promising a bright and certain future together. As their dreams begin to materialize, however, an unforeseen darkness intrudes, threatening to unravel everything they have built. Faced with trials that test both their faith and their bond, the couple must decide whether love alone is enough to withstand forces determined to break them apart.
Mike Ilemobola’s romance fable doubles as a spiritual allegory, exploring the tension between destiny and free will, and the resilience required to hold on to hope when the future turns uncertain
One Sunday service spirals into chaos when three women, all vying for Ayomide’s (Jacob James Namah) affection, confront one another in church. But Ayomide, quick to dismiss them all, is less a romantic prize than a chronic heartbreaker. On each new date, his pattern emerges: an obsession with perfection and a disdain for flaws.
As his story unfolds, it becomes clear that Ayomide is not liberated by choice but bound by his own desires—shaped by confusion, carnality, and the scars of a troubled childhood. His relentless pursuit of an ideal woman becomes its own cage.
John Oguntuase’s drama examines how unhealed trauma and rigid ideals can imprison the heart, turning love into a battlefield of projection and pain.
Michael (Ohis Muyiwa Ojeikere) is a devoted family man with one consuming ambition: to become a man of God. Struggling to grow his ministry and desperate for recognition, he seizes what seems like a shortcut to success. After a single, fateful encounter with a spirit, he finds himself catapulted into instant fame—at the cost of his soul.
As Michael’s ministry flourishes, the cracks begin to show, exposing troubling questions about his motives, his integrity, and the true foundation of his faith.
This movie is both a cautionary tale and a moral inquiry, probing the dangers of ambition without conviction and the perilous trade-offs hidden in the pursuit of spiritual power.
Directors: John Oguntuase and Damilola Mike-Bamiloye
Genre: Biopic
This sweeping biopic retraces the life of Pastor E.A. Adeboye, beginning with his childhood in Ede, Osun State, where poverty threatened his dream of an education. Structured in five chapters, the film charts his academic brilliance, his romance with Foluke, and the spiritual encounter with Pastor Josiah Akindayomi that transformed the course of his life.
Featuring Abolaji Adebola, Tomiwa Samson and Mike Bamiloye, Enoch portrays not only Adeboye’s struggles and sacrifices but also the divine calling that carried him from obscurity to global influence.
At its heart, the film is less about celebrity than about devotion, presenting Adeboye’s journey as a meditation on faith, resilience, and the power of surrender to a higher purpose.
Kolade (Greatman Takit) is a gifted musician caught between two worlds. Raised in a devout household, his father, Rev. Emmanuel (Mike Bamiloye), expects him to carry on the family’s ministry. But Kolade’s passion lies elsewhere—in the rhythms and acclaim of secular music. His pursuit of that path draws him into a dangerous web of spiritual conflict, eventually leading to cult entanglement and battles far darker than he ever imagined.
Blending drama with musical performance, Damilola Mike-Bamiloye’s film examines the high stakes of choice and identity, exploring the costs of straying from expectation and the perilous intersections of faith, talent, and temptation.
Comfort (Omolara Ayoola) has spent years in prayer and fasting, clinging to every prophecy and promise that one day she will have a husband and family of her own. Yet as time passes, she watches her deepest hopes realized instead by a couple living next door. Their happiness becomes her torment, each shared smile cutting like a wound.
What begins as quiet anguish hardens into resentment, then curdles into bitterness. Soon, envy consumes her, threatening to pull her into choices with devastating consequences. At the breaking point, Comfort must decide whether to release her pain to faith—or let jealousy destroy her and those around her.
Mike Ilemobola’s drama is both intimate and cautionary, probing the corrosive power of envy while reflecting on the fragility of hope when faith is tested by delay.
Odukwudili and Moroundiya (Daniel Etim-Effiong and Bimbo Ademoye) are a young couple whose marriage begins to fracture under the weight of infertility. Despite their wealth and access to medical options, the one thing they desire most remains out of reach.
Their journey takes them from fervent fasting and tireless prayer to the promise of IVF, but each attempt ends in fresh disappointment. As hope wanes, faith falters, and their bond is tested, Moroundiya teeters on the edge of despair—until the unexpected finally arrives.
Great Valentine Edochie’s drama is both tender and unflinching, examining the strains infertility places on love, faith, and identity, and the quiet resilience required to keep believing in the face of heartbreak.
On his way home to his anxious, paranoid mother, a man (Tolu Adegbo) hears breaking news: a dangerous criminal is on the loose and residents are urged to stay indoors. When he reaches their house, it is eerily empty—his mother nowhere in sight, her Bible left half-open on the table.
As he searches frantically, he is suddenly knocked unconscious. He wakes bound and helpless, confronted with a chilling ultimatum: produce ₦30 million within thirty minutes or watch his mother die.
John Oguntuase’s thriller fuses suspense with moral urgency, exploring fear, desperation, and the crushing weight of impossible choices when love collides with danger.
The spotlight in Nigeria’s music industry is a slippery thing. One day, you’re shutting down stadiums, topping radio charts, and having your songs blasted from every bus in Lagos. Next thing you know, a new wave of musicians has taken over, and people are asking, “Wait… whatever happened to that guy?”
The truth is, the industry moves at breakneck speed. Not everyone gets to pull a 2Baba, Wizkid, or Burna Boy longevity run. Some artists who once defined whole eras have quietly stepped away from the spotlight.
But stepping away doesn’t always mean falling off. Some of these stars have found new lanes in business, tech, gospel, film and even behind-the-scenes roles shaping the industry they once ruled.
Here are 10 Nigerian musicians, who once had the spotlight and where they are now.
The name African China isn’t strange to those familiar with the Nigerian music of the early 2000s. He gained popularity as a socially conscious musician back then. From blasting the corrupt system to sensitising the masses about the government’s false promises in songs like “Mr. President” and “Crisis,” African China made music that was accessible to everyman. Around the mid-2010s, he moved away from the spotlight and released music sparingly.
As of 2016, he ran Chyna Town Unisex Beauty Salon in Festac, Lagos.
Banky W owned the 2010s with hits like “Lagos Party” and “Strong Ting” and established his name as a strong music business entrepreneur, signing pop stars like Wizkid and Skales to his co-founded Empire Mates Entertainment music label. By the end of the 2010s, he gravitated towards Nollywood upon graduating from the New York Film Academy (NYFA) and featured in movies like The Wedding Party (2016), Up North (2018), Sugar Rush (2019), etc.
In 2021, he moved to the U.S. with his family for his Master’s degree in policy management at Georgetown University. He also became involved in Nigerian politics and contested for the House of Representatives seat in 2023, though he lost. Since then, Banky W has served as a Fellow on Capitol Hill in Washington, D.C and earned his Master’s degree this year.
For some, Darey’s classic “Not the Girl” puts him among Nigeria’s most distinctive R&B voices. For others, his jam “Ba Ni Kidi” identifies him as an early Nigerian artist experimenting with electronic dance music.
These days, he does a lot of work behind the scenes in the entertainment industry.
With his wife, Deola Art Alade, he has been busy building LiveSpot360, the production company behind the Showmax hit reality show, The Real Housewives of Lagos.
Get More Zikoko Goodness in Your Mail
Subscribe to our newsletters and never miss any of the action
At the peak of his music career, eLDee was an A-list rapper, responsible for hits like “One Day” and “Bosi Gbangba.”
He also started Playdata, a digital music management company. It became Nigeria’s first original airplay tracking platform to monitor song plays and fan engagement.
But later, he relocated to the US, where he worked in tech. He is also now an investor in real estate.
Jahbless is a veteran Nigerian rapper who was formerly signed to ID Cabasa’s Coded Tunes label. His hits include “Joor Oh (Remix)” with rappers eLDee, Ice Prince, Reminisce, and Durella, and “69 Missed Call” with Olamide, Lil Kesh, CDQ, Chinko Ekun, and Reminisce.
As the 2010s packed up, we saw less of Jahbless in the music space and more of him on Instagram, globe-trotting.
In 2021, he returned to the media space as a podcaster, hosting a self-owned Jahbless Original Intelligence (JOI) show. Since then, the podcast show has been running.
General Pype was one of the Nigerian reggae-fusion talents of the 2000s. He reigned with singles like “Give It To Me”, “All the Living”, “Champion” and its remix. He’s also credited for writing Davido’s “Gbagbe Oshi” hit (2016).
In 2018, he took a self-imposed music hiatus to take care of his family and diversify his portfolio. He relocated to the US, where he held his first 9-5 job since he started making music as a teenager in Nigeria.
He also pursued a degree in set design at Georgia Film Academy in the United States. This has worked out for him, as he has worked as a set designer on Hollywood movies such as Black Panther (2018) and Samaritan (2022).
Before Pepenazi travelled and relocated to the UK, he made records that dominated the streets and clubs. Songs like “One for the Road” (2018), “Illegal” featuring Olamide (2019) and “I Ain’t Gat No Time” (2019), which birthed several remix versions, sealed his status as a star.
Sometime in 2022, he made a radical change when he posted a video on his Instagram account, preaching the gospel of Christ. Pepenazi is a preacher at the church, Across the Atlantic Ministry.
Sasha P is among the most respected Nigerian rappers. She’s an artist who has accomplished many “firsts,” such as performing at the World Music Award in 2008, winning the Best Female Artist award at the Women in Entertainment Awards in the UK in 2009, and winning the MTV Music Award for Best Female Act in 2010.
By mid-2015, Sasha had actively stopped making music and focused on the business and executive side of it. Her pursuit of other creative endeavours led her to found a fashion company called Electric by Sasha. She also owns an event and touring company called Purple Fire Entertainment, which has been actively focused on artists and music education.
Sheyman found success in music as a singer-songwriter, recording hits like “Hotter Than Fire (Kondo),” “Paper,” and “Paper (Remix)” featuring Davido. Then, he had bigger success as a sound engineer who mixed and mastered for nearly all the Afrobeats heavy hitters between 2015 and 2019.
He went quiet for a bit and returned to venture into the nightlife business in 2020. Now, Sheyman runs a popular Lagos nightclub called Secrets Palace, a fine dining service called The Glass House Lagos and Folix Bukka.
Now: An OG designing streetwear and preaching Christ
When Weird MC burst onto the scene, she did it with bold defiance. She shaved her head, wore oversized streetwear, and had an instantly unforgettable style. In 1996, she dropped “Allen Avenue.” She clinched the first AMEN Award for Best Hip-Hop Album with Simply Weird a year later. By 2005, she was breaking ground again as the first Afrobeats artist to release an animated music video with “Ijoya.”
Although Weird MC isn’t as popular as she used to be during the “Ijoya” years, she channelled her creative energy into designing her streetwear brand called Peculiar Wears.
Forget endless scrolling through paid subscription platforms. If you know where to look, you’ll find the best Nollywood movies on YouTube.
From romcoms to family dramas, the movies on this platform will keep you glued to your screen till the very end.
In this month of September, we’ve combed through the best Nollywood has to offer and selected 10 of the best. Whether you’re in the mood for an epic, a modern-day love story, or a star-studded drama, there is something for everyone on this list.
Here are the 10 best Nollywood movies to watch on YouTube this month:
After chasing her wealthy son’s girlfriend away, Nwanne (Patience Ozokwor) persuades Nnenna (Chioma Chukwuka), a beautiful and hardworking village girl, to marry him.
Hoping for a brighter future, Nnenna finds her way into a relationship with the guy (Bob Manuel Udokwu) and moves to the city with him, only to be deceived by a supposed new friend (Oge Okoye).
Blinded by promises of glamour and freedom, Nnenna strays far from her values, but it may already be too late to undo the damage by the time she realises.
When the love between Helen (Uche Montana) and Charles (Eso Dike) results in an unplanned pregnancy and a hasty wedding, the reality of married life quickly sets in. Their first year together is a storm of sleepless nights with a newborn, career pressures, financial strain, meddling exes and unresolved family baggage.
What once felt like passion is now unbearable, forcing them to question the foundation of their union. With counselling and honesty, the couple must decide if their bond can withstand the cracks in their trust. It’s the sequel to A Night in July.
Grace (Bimbo Ademoye) is a nurse and youth minister whose life revolves around faith, service, and the clear path her church community envisions for her. But everything changes when she crosses paths with Kunle (Taye Arimoro), a neighbour carrying the weight of a troubled past.
Drawn to his vulnerability, she finds herself caught between her growing affection for him and the expectations of her spiritual family, who insist that her future lies with Richard (Great Valentine Edochie), a perfect Christian suitor.
As love, faith and buried past collide, Grace must confront her heart’s desires and seek clarity on whether destiny is shaped by others’ expectations or by God’s plan for her life.
After his brother dies, Osuofia (Nkem Owoh) travels to the United Kingdom to take charge of his estate with his wife, a white woman. But he soon realises that life in London is not what he had imagined in his tiny southern village.
What should be a straightforward process turns into a comedic rollercoaster as Osuofia is bewildered by everything from London’s food to its social etiquette. This classic comedy is one of the few in the “novice clown” genre that manages to be actually funny.
This social drama is set in Oloibiri, Bayelsa State, a small town struggling with clean water. After a massive oil and gas corporation learns that crude oil nests on the soil of the town, even more doom is spelt for the people of Oloibiri.
It remains Gunpowder (Richard Mofe-Damijo), a hardened militant leader scarred by years of broken promises and environmental ruins, to decide the fate of the community.
This movie tackles the impending climate crisis that threatens a massive portion of the Niger Delta.
Keche (OC Ukeje) and Banke (Stella Damasus) are a couple preparing for their dream wedding. Everything seems flawless until Keche’s ex, Ama (Kehinde Bankole), unexpectedly returns. Her reappearance throws Keche into an emotional whirlwind, forcing him to confront unresolved feelings, question his choices and unavoidably jeopardise his future with Banke.
The movie intensifies as the wedding day draws near, and all parties in this triangle face each other.
After a militant group of former disgruntled soldiers turns to terrorism and kidnapping, causing chaos in the country, law enforcement must fight back. Detective Smith (Saint Obi), a fearless police officer who has become the linchpin of the law enforcement’s response, steps up to protect the nation and lead the counter-attack against the criminal group.
From gunfights to intense dialogue exchanges, this classic Nollywood thriller is guaranteed to get your blood pumping fast.
The title of the classic gritty Nollywood movie is derived from Bakassi spelt backwards, referencing the real-life Bakassi Boys vigilante group that rose to prominence in Eastern Nigeria in the late 1990s to fight the wave of violent armed robbery and ritual killings terrorising their communities.
Issakaba is an action thriller that keeps giving. Years after Sam Dede’s performance as the leader of the group that taught young boys to fight violence, the film remains as exciting as it was when it was first released at the turn of the century.
This movie tells the story of Makanjuola Kosegbe (Kola Oyewo), a principled man appointed to head a government agency plagued by deep corruption. Instead of joining the rotten system, he takes a firm stand against bribery, embezzlement and political manipulation.
His uncompromising honesty makes him both admired and hated. The public, who long for integrity, loves him, but corrupt officials and civil servants hate him because they see him as a threat.
Two friends, Sola (Kunle Afolayan) and Femi (Ramsey Nouah), discover a mysterious figurine during their National Youth Service in a remote village. The figurine is tied to an ancient goddess, Araromire, who is said to bring seven years of good fortune followed by seven years of misfortune.
At first, their lives transform. Love, success, and prosperity fall into place effortlessly. But as the seven-year cycle shifts, tragedy and chaos find them, and they’re forced to confront a decision they made years ago without thinking deeply.
Bollywood has always been celebrated for its spectacle, blending tradition, romance, music, and drama into unforgettable stories. From sweeping family sagas to adrenaline-pumping thrillers, the Indian film industry has built a global identity that transcends language and borders.
In Nigeria, where Nollywood reigns supreme, Bollywood has held a special place for decades. Generations grew up humming classic songs, copying dance steps, and soaking in the larger-than-life emotions on screen.
Today, streaming platforms make Indian cinema available at the click of a button—no more cassettes or DVDs—and many Nigerians are rediscovering Bollywood. To capture that passion, we spoke with 40 Bollywood fans in Nigeria and asked them to rank their all-time favourite movies and explain the personal reasons these films continue to resonate.
Here are the 40 best Bollywood movies ranked by fans:
This movie tells the unconventional love story of a doctor who travels to India to find a bride, and a rebellious small-town girl with dreams that clash with tradition. Their love life starts as a mismatch, then evolves into a journey of compromises, heartbreaks, and realizations about what love truly means.
“What I love about this film is how their worlds collided. It reminded me that love isn’t always about perfection; it’s about balance.” — Ada, 27
The movie focuses on the life and service years of Field Marshal Sam Manekshaw. It dives into his highs and lows, exploring wars, reforms, and the leadership style that earned him both admiration and the distinction of being the first Indian Army officer promoted to the rank of Field Marshal.
“When a biopic is done right, it’s one of the best things to watch—and this movie fits right in.” — Fikayo, 24
A rising tech whiz stumbles into blackmail, murder, and a femme fatale who plays chess when everyone else is playing checkers. This movie’s use of retro sound, pulpy cinema flair, and sly humour makes it one of Bollywood’s boldest releases of the 2020s.
“I went in for the songs, but stayed for the twisty wickedness.” — Sandra, 27
Running time: 2h 12m Director: Laxman Utekar Genre: Comedy, Drama
A small-town dancer agrees to be a surrogate for a foreign couple, but when things change, she faces society and motherhood on her own terms. While the movie carries plenty of comedy, it balances it with an intense exploration of perseverance and dignity.
“Kriti’s performance felt like a friend. It’s my comfort watch.” — Yemisi, 22
Running time: 2h 20m Director: Anubhav Sinha Genre: Crime, Drama
A city-bred cop posted to rural India investigates missing girls and hits the wall of caste, corruption, and silence. His investigation unravels into something bigger and darker than he could have imagined. This movie blends police procedural with social commentary.
“It’s uncomfortable, but in the right way. It’s the kind of important story you can’t look away from.” — Brianna, 25
A pianist who pretends to be blind becomes entangled in a series of crimes of passion and a chain of accidents that may not be accidents at all. After witnessing the murder of a former film actor, he finds himself caught in a web of chaos.
“I paused so many times just to gasp. Perfect chaos.” — Jopelo, 26
A man who makes money by helping couples break up meets his match when a no-nonsense chartered accountant flips the script. He falls for her, and the story follows their families and the tug-of-war between independence and togetherness.
“It’s fun, but the family bits felt close to home.” — Morayo, 24
Running time: 2h 36m Director: Amit Rai Genre: Drama, Comedy
After a boy is expelled for vulgar acts, his father takes the conservative school system to court over sex education, with divine help nudging him along. He challenges everyone who has wronged his son, even if it means facing his greatest enemy.
“I wish I had seen this as a teenager. I could have learned a lot about sex education.” — Tope, 23
A son’s ferocious need for his father’s love detonates into violence. Consumed by his quest for acceptance and vengeance, he unleashes chaos against those plotting against his father’s life.
“I’ve argued with all my friends that this is the best Indian movie. I still can’t stop watching it.” — Anita, 26
Running time: 2h 48m Director: Karan Johar Genre: Romance, Family Drama
A love story turns into a social experiment when two lovers facing family opposition decide to swap households. Living with each other’s relatives before marriage tests their compatibility and challenges tradition.
“The gender conversations were the real deal for me.” — Sola, 25
Running time: 2h 23m Director: Zoya Akhtar Genre: Musical, Teen Drama
Set in the 1960s Anglo-Indian era, Riverdale is a fictional hill town where a beloved group of teenagers take a stand when developers threaten to demolish a cherished park. The film weaves together themes of friendship, romance, and student activism.
Running time: 2h 15m Director: Arjun Varain Singh Genre: Drama
Three friends in Mumbai juggle work, parents, lovers, and the demands of the digital world. The film captures the ache of being extremely online and the struggle to log off without losing oneself.
“I watched it with a group of friends. We kept looking at ourselves during the awkward pauses. We’ve already seen it together three times.” — Adesewa, 24
Running time: 2h 1m Director: Kiran Rao Genre: Comedy, Drama
Two newlywed brides are accidentally swapped on a rural train. What begins as a mix-up turns into a quiet rebellion, as one bride discovers her voice while the other finds unlikely allies.
“It’s soft, funny, and radical. I smiled the whole time.” — Zainab, 27
Running time: 2h 22m Director: Imtiaz Ali Genre: Musical Biopic, Drama
The film tells the story of the meteoric rise and shocking assassination of Punjab’s most controversial folk star, Amar Singh Chamkila. It wrestles with fame, censorship, and the gulf between a stage persona and a fragile man.
“Netflix recommended it, but I didn’t watch it on time. Later, I downloaded it. What a movie. The music slaps. His life story hurts too.” — Semilore, 24
Running time: 2h 4m Director: Siddharth P. Malhotra Genre: Historical Legal Drama
In 1862 Bombay, a young journalist challenges a powerful religious leader in an article. In retaliation, a defamation case is filed against him. The trial becomes a test of the colonial courts and the public conscience.
“This movie made me Google if the case really happened. Too intense.” — Alfred, 22
Three hardworking, cash-strapped flight attendants stumble into a gold-smuggling heist when their airline faces bankruptcy. With no choice but to get involved, they use the scheme to keep themselves afloat.
“This was such a great watch. I enjoyed their schemes and kept laughing.” — Tobi, 22
A soldier boards a night train to stop a forced marriage and collides with a gang of bandits. The carriage turns into a pressure cooker of combat as he fights for survival against deadly attackers.
“This is the best hand-to-hand Indian action I’ve seen in years. I yelled at my TV.” — Favour, 26
Running time: 2h 27m Director: Vidhu Vinod Chopra Genre: Drama
An officer finds the courage to return to school and restart his academic life in pursuit of a lifelong dream. Among millions of students attempting to pass the world’s most competitive exam, he remains determined against the odds.
“It reminded me of WAEC pressure. I could feel every small win.” — Seye, 27
A masked vigilante driven by vendetta, along with his all-women convict squad, takes on corruption across sectors. His mission for justice eventually leads to an unexpected family reunion.
“This is pure event cinema. And the ladies steal scenes. I love to see it.” — Neneh, 27
A Pakistani general hires a private mercenary to launch attacks in India, but an exiled super-agent returns to stop a looming bioweapon war. The mission tests his skills and endurance, and once inside the war zone, he has no choice but to fight until he wins.
The anti-terrorism squad races to stop a planned attack, led by a security chief on a mission to recover 600 kg of missing RDX and track down the criminals behind it. He gives his all but faces a heavy force determined to stop him.
“Everything was boom, boom, boom. Fire and fights everywhere. I wanted to pass time with it, but it grabbed me and I enjoyed it.” — Erioluwa, 19
Running time: 2h 3m Director: Ranjit M. Tewari Genre: Thriller
Inspired by real hijackings in the 1980s, the film follows a RAW analyst who leads a high-stakes rescue mission to free passengers held hostage by terrorists. He relies on his patriotism, skills, and wit to take on heavily armed criminals.
“I loved it because of the old-school spy movie element.” — Eric, 21
A professor’s death pushes a student to uncover hidden accounts of the 1990 exodus of Kashmiri Pandits. His investigation unravels a web of lies and conspiracies tied to the mass genocide.
“Hard watch, but if you enjoy historical movies, I recommend this.” — Mubarak, 25
Running time: 2h 33m Director: Zoya Akhtar Genre: Musical, Drama
A working-class college student discovers his voice in Mumbai’s hip-hop cypher. Rapping about social issues and everyday life in his city, his world changes after meeting another local rapper who pushes him to chase his dream.
“If you’ve ever had a dream that felt bigger than you, you might relate to this. At least, that’s how I related to it.” — Badmus, 25
Running time: 2h 4m Director: Amit Sharma Genre: Comedy-Drama
A 25-year-old is stunned to learn that his middle-aged mother is pregnant. Struggling to accept the news, he finds his personal life and romantic relationship thrown into chaos.
“I watched this with my mum. We laughed throughout the movie. I made her watch it, by the way.” — Yele, 26.
In a small town haunted by a spirit that abducts men during festival nights, a young man and his friends set out to confront the mystery. Their mission to stop the spirit brings both fright and humour, while uncovering a strong social message.
“It’s spooky and silly. Also, the social message is strong.” — Olaide, 27.
Running time: 2h 18m Director: Aanand L. Rai Genre: Romance, Drama
A runaway woman is forced into marriage with a man who’s already engaged, setting off a whirlwind of chaos. But when her boyfriend reappears, the love triangle takes a darker, almost haunting turn.
“It’s messy but sincere. The songs carried me.” — Mariam, 23.
Running time: 2h 40m Director: Aditya Suhas Jambhale Genre: Political Thriller, Drama
After unrest in Kashmir, a young intelligence officer is recruited for a covert mission to curb terrorism while the government prepares for a constitutional overhaul.
“It felt like being in the room where decisions happen.” — Ifedayo, 25.
Running time: 2h 46m Director: Siddharth Anand Genre: Action, Drama
An elite pilot in the Indian Air Force faces a deadly terror threat just as he achieves his lifelong dream. With immense responsibility on his shoulders, he must rise to the occasion and prove himself a true hero.
“The aerial sequences are incredible. I kept rewinding. It’s a pure spectacle.” — Victor, 24.
Running time: 2h 19m Director: Aanand L. Rai Genre: Romantic Drama
A small-town boy’s childhood crush lingers into adulthood. What begins as an innocent love story gradually transforms into an obsession as he struggles against class divides to win the woman of his dreams.
“It starts as a love story and turns into a messy one. The acting is great.” — Bright, 24.
Following the Jallianwala Bagh massacre, a quiet revolutionary devotes his life to seeking justice across continents. The film dwells as much on grief as it does on vengeance.
“I like slow burners. This works for me.” — Abiodun, 29.
Cousins, careers, and complicated love lives intertwine as four adults make choices that cost more than they can bear. The film dives into class, ambition, and secrets.
“It’s messy like real relationships. There’s no hero, there’s no villain. Just plenty of consequences.” — Grace, 25.
Seven years after outsmarting the police, a family man faces a sharper, more relentless unit. This sequel doubles down on patience, suspense, and puzzle-box investigations.
“I thought I could guess the plot from the start, but I was wrong. The plot twist is so strong.” — Ayomide, 23.
Running time: 2h 15m Director: Vishnuvardhan Genre: Biographical, War, Drama
This film tells the story of Captain Vikram Batra—his romance, his battlefield heroics, and the Kargil peaks that turned him into a legend. Shershaah presents national pride as personal courage rather than sloganeering.
“That last act had me standing up in my living room—respect.” — Doyin, 25.
A Mumbai DJ discovers he’s tied to ancient elemental weapons called astras. As a secret order protects them, an awakening evil rises in pursuit of the ultimate prize—the Brahmāstra.
“It’s a larger-than-life movie but is emotional. It’s the ‘festival movie’ you put on if you want to watch something to feel good.” — Ashepeoluwa, 23.
Running time: 2h 26m Director: Vikas Bahl Genre: Comedy, Drama
Dumped right before her wedding, a woman goes on her solo honeymoon to Europe and discovers a freer, braver version of herself. This film is about how small, bold choices can lead to real freedom.
“I watched it after a rough week. It felt like permission to breathe again.” — Damola, 21.
In the early ’70s, a RAW agent goes undercover in Pakistan to expose a nuclear programme. The mission is political, but the film also wrestles with love, duty, and the heavy cost of a secret life.
“It shows patriotism. The way the main lead acted made me care about him and his mission, too.” — Adeola, 28.
Running time: 2h 14m Director: Jasmeet K. Reen Genre: Dark Comedy, Drama, Crime
A woman stays in a bad marriage, hoping her husband will change, until survival and self-respect push her to fight back. With her mother by her side, the film shows us how grit can help survivors break free from abuse.
“The humour in this film is top-notch. I laughed and loved how close it felt to real life. This is why it hits for me.” — AY, 26.
A single mother in a quiet Himalayan town gets pulled into a crime that threatens to upend her life. Her neighbour, a reserved maths teacher, steps in to help. Based on The Devotion of Suspect X, this film is a slow-burning thriller that balances logic, suspense and moral ambiguity.
“It’s the kind of movie that makes you lean forward without realising. Kareena’s calmness is scary and good, and I like the ending.” — Susan, 24.
When her husband dies in an explosion, all eyes turn to his wife. As the police dig deeper, she spins a story about love, betrayal, and obsession that blurs the line between truth and cover-up.
“It reminds me not to settle for less. People kill for the ones they love—and even go as far as cutting off their hand to hide a murder.” — Adebola, 24.
Loye’s story begins in Kaduna, in a home where faith is stitched into daily life. But even that kind of grounding cannot shield him from the blows life deals. After his sister died, his life was disrupted, and he had to leave Kaduna.
In his AsToldTo with Zikoko, Loye peels back the layers of his journey: the struggle with religion, the near-breaking points, the grief and hunger, the brushes with fate that tested him and how he’s slowly rebuilding his faith.
This is Loye’s story as told to Marv.
The day my sister died was the day I began to lose my faith. We lived in Kaduna. Our mother was a prophetess at the Christ Apostolic Church. In church, she told people about their future. Everything she said came to pass. Children feared her. Cheating husbands feared her. Everyone who had sinned in the week feared her because on Sunday, she could reveal their deepest sins. Yet my sister died from a spiritual attack, and my mother could not stop it.
On Sundays, we woke up at 3 a.m., the air heavy with beans and pepper. Steam covered the kitchen. My mother was making moi-moi, which we helped her pack to sell in church.
We wore our best clothes, my combat trousers dusted from under the bed where they had been all week. My mother led the way. Sundays were good—not just because we went to church, but because our mother walked with us. The boys who hung in the corner and tormented my life didn’t attempt to tease me, not when my mother was with us, not when it was safe.
At church, we stood beside our mother as she emptied her cooler of moi-moi.
I was born inside the walls of CAC. As far back as memory reaches, my life was measured in prayers. My mother had us fast for twelve hours twice a week, our small bodies aching with hunger, our lips moving over scripture. Every day meant Bible reading, and every season meant climbing mountains to pray louder, higher, and closer to heaven. Sundays were their own pilgrimage.
I remember one night on the mountain, the air sharp and cold, my body trembling as I wrapped my arms around myself. She told us, “The more uncomfortable you are in the presence of God, the more serious He knows you are about your prayer.” I sat there, teeth chattering, trying to make sense of it, but it never really clicked. It still doesn’t.
Get More Zikoko Goodness in Your Mail
Subscribe to our newsletters and never miss any of the action
When we grew older, my sister moved to Ilorin to live with a relative. But when she returned to Kaduna in 2017, something strange began to happen. My mother said it was a “spiritual attack.”
One morning, my sister woke to her back itching. Initially, it was nothing dramatic, just an irritation she couldn’t ignore. But the itch refused to fade. Day after day, she scratched until her skin gave way to sores.
What started as restless discomfort became raw, open wounds. Her back was covered with bruises and injuries she couldn’t explain. She hadn’t fought anyone, hadn’t fallen, hadn’t been dragged across the ground. The marks appeared as though her own body had turned against her.
The bruise got worse. Our fasting didn’t save her. After a while, my sister died.
It broke something in me. My sister had always worn her faith like an armour. God was the anchor in our home. But as I watched things unravel, that certainty slipped from me.
I kept asking myself how tragedy could strike a family that prayed morning and night, a family with a mother who prophesied, who wore devotion like a second skin.
Days later, I was walking on the streets and couldn’t breathe. I was gasping for air, and somehow I knew that I needed to leave Kaduna to breathe better. In December, I left. I never returned to Kaduna or my mother’s church.
In 2020, I got into YabaTech, and things started to change. I had only just begun to make music. It was nothing too serious. I was just hoping I would blow. Beats were not hard to find. In Yaba, a music studio was easier to find. So, I recorded a few songs that I performed in school during social events; Miss YabaTech, Departmental Night, etc.
Once, I was performing. Then, I heard it out of nowhere: a nudge, a voice whispering, “Step outside.” I couldn’t explain it, but I obeyed. I turned to my friends, urging them to follow, but they only laughed, waving me off. So I walked out alone, the noise of the event fading behind me.
Minutes later, the sound of a gunshot pierced the night. Panic erupted. By the time the dust settled, someone lay dead in the exact spot I had been standing. I just stood there, my chest tight.
My time in YabaTech was tough. I was dead poor, with no money and no place to sleep. Survival felt like a daily negotiation. I went five months with no home, no place to sleep. The school grounds became my bedroom: cold benches, empty classrooms, any corner I could claim for the night.
On some nights, desperation pushed me to sneak into a female friend’s hostel, just to have a roof over my head until morning. My entire wardrobe was four outfits. I’d swap clothes with a friend to keep up appearances, to pretend life wasn’t swallowing me whole.
It was a hard, grinding time, but music kept me breathing through it all.
As word began to spread around campus that I was a musician, I started getting called to small shows, events that barely paid but kept me visible.
Then one night, a group of guys approached me. They wanted me to perform—not at a concert, not at a campus hangout, but at an orgy party, tucked away in a Didi Hotel in Lekki. It was wild, absurd, and completely unexpected, yet it cracked open the path that would change everything for me.
I swore I would make it there. I scraped and saved all week, collecting small change from doing my classmates’ assignments, tucking away every naira to get to where I’d need to perform. By the weekend, I had just enough, and with a friend by my side, I headed for the event.
The club was thick with heat and noise when we arrived. Music throbbed through the speakers, men spraying cash like confetti, women dancing, hips rolling in the neon haze. I waited, clutching my chance, but they kept pushing me aside. “Later,” they said. Always later. Hours passed. By the time they finally called my name, the frenzy had died down. The crowd had thinned to maybe twenty people, their eyes glassy, their energy drained.
Still, I sang. I let the notes rise and fall, wringing every ounce of strength out of my voice, filling the hollow room as if hundreds of people were listening. I sang to the lights, to the smoke curling in the air, to the tired bodies slouched in their seats. And when the last note left my mouth, there was nothing. No clapping of hands. No showering of cash. Only silence; it was heavy and echoed. And I could almost feel the sharp sting of hope draining from me, like sand slipping through open fingers.
Outside the club, it was dark. Discouragement sat on my shoulders like a burden, and I wondered if the singing had been for nothing. Then, out of the blue, a small group of girls walked up to me. They clapped, smiling, their voices soft but certain: they’d heard me, and it mattered. That little spark lit something again.
Not long after, a guy strolled over. “Omo, I get one gig for una with Infinix. I want you guys to come do a freestyle jingle. Don’t worry, I’ll cover transport. I’ll even pay you something small,” he said to my friend and me.
It wasn’t much, but it was a door. And that night, it was the very first one that opened.
Then came another twist. The guy’s girlfriend pulled me aside, her voice low, almost conspiratorial. She said there were some men tucked away in the corner, throwing advances at women, and maybe if I sang for them, I could make a little money. I hesitated, nerves tying knots in my chest, but I went.
At first, my voice wavered, soft and unsure, but the music carried me. Soon, I was singing like I belonged there. One of the men, lounging with his friends, stopped mid-laughter. He leaned forward, eyes narrowing with interest, and said, “This guy good oh. Come, let me see you. Let’s talk.”
We stepped aside, away from the noise, and he looked at me with a quiet seriousness. “My girlfriend just lost her sister,” he said. “I want you to sing for her, lift her spirit. You’ve got a voice that can do that.”
He took my phone number before I slipped back to my seat, and I kept singing, trying to hold on to the night. When I finally wrapped up, his manager appeared, phone in hand, saying he’d been asked to collect my account details. I typed it in, half in disbelief, half in hope.
That same evening, as if fate was lining things up, I met a girl who invited me to her birthday party. She sent me ₦5,000 afterwards. Small money, but it felt like something real. From there, it was back to my friend’s hostel for the night, pulling myself together to head for the freestyle jingle gig at Infinix.
The next day, we made it to the event, did our thing, then circled back again to my friend’s hostel to change.
When we got back, I dialled the man who had asked for my account details, the same one who wanted me to sing for his grieving girlfriend. He said he’d already sent the money. Heart racing, I rushed to the nearest ATM, punched in my card, and waited. Nothing. No alert. No balance change.
Confused, I called him back. “Sir, please, what name did you see when you made the transfer?” He paused, then replied, “Kabir Ali, or something like that.” My stomach sank. “No, sir. My name is Daniel,” I told him.
He didn’t argue. He just said, “No problem,” and within minutes, another transfer hit—this time, it was real. Then he added, “Come by tomorrow.”
One thing led to another, and soon I found myself standing before his grieving girlfriend, singing softly, trying to wrap my voice around her pain. Midway through, she picked up a call. I kept going, unaware of who was on the other end until she tilted the phone slightly — it was M.I. Abaga listening. He paused their conversation just to ask, “Who’s that singing?”
Through the phone, he asked for my number, said he’d reach out. In that moment, my voice had travelled farther than I ever imagined, carrying me into a future I hadn’t even dared to dream.
Two months slipped by, and the campus was already quiet with vacation. I had almost convinced myself M.I. had moved on, that his promise was one of those fleeting words people say in passing. Then, out of nowhere, my phone rang. It was my friend, a fellow student who doubled as my manager back then. Breathless, he said, “M.I.’s been trying to reach you.”
I froze. All that time, I thought I’d been forgotten; he had actually been making plans and setting things in motion. While I was doubting, he was preparing to meet me.
The moment I got the call, I left Epe, where I’d been squatting at a friend’s place for the holiday, and set out for the meeting spot. The journey felt endless, every bump in the road carrying the weight of what might come. By the time I arrived, my heart sank — M.I. was already at the door, about to leave.
But then our eyes met. He paused, looked me over, and asked, “You’re Loye, right?” I nodded, breath caught in my chest. He held the door open. “Come in. Let’s talk.”
We sat across from each other, the air charged with possibility, and the conversation began to flow. At one point, he leaned in and asked, “Tell me, who would you love to work with?” The names tumbled out of me: Don Jazzy, Olamide, and a handful of other giants who shaped the sound of the industry.
Without hesitation, he picked up his phone, reaching out to them one after the other. Calls were made, bridges tested. But the timing wasn’t right. None of them were ready to bring someone new on. Don Jazzy’s offer came closest. He said I could spend two years in the incubator, sharpening myself under artist development.
Two years. On the surface, it sounded like an opportunity, almost a blessing. But to me, it felt like a lifetime. I was too restless, too starved for something that could change my life now. Nights of curling up on hard benches, mornings waking in borrowed corners, days spent moving from one friend’s space to another, they had stripped me of patience.
Not long after, M.I. reached out again. Another meeting. Another chance.
When we finally sat down, he looked me in the eye and asked, “Where do you stay?” The question cut deeper than I expected. I told him the truth, that I didn’t really have a place of my own, that most nights I squatted at my manager’s house, drifting between borrowed spaces.
Out of nowhere, he did something I never expected. He got a hotel room for me and my friend and told us, “Stay here for two weeks. Use the time to find an apartment.”
That was how I stepped into my very first place: a two-bedroom flat that felt like a palace after years of drifting. Everything began to unfold like a dream, one door after another swinging open.
Soon after, I signed with Incredible Music, the label M.I. created after he met me. For the next two years, I lived in the cocoon of artist development, sharpening every edge of my craft. I recorded hundreds of songs, each one a small breakthrough, each one teaching me something about who I was becoming. I even cut an EP with Chopstixx, one of the biggest producers, which is not out yet.
One day, without thinking, I said, “Alhamdulillah.” It means “God is great.” I have come to believe that beyond every doubt, what happened to me was divine orchestration. I have not returned to church yet, but the experience made me return to God.
When Nollywood is mentioned, the stories and sheer volume of films often dominate the conversation. But beneath the industry’s speed and spectacle lies its best treasure: performances that etch themselves into memory.
From Richard Mofe-Damijo’s embodiment of anger and betrayal in Oloibiri, to Nkem Owoh’s layered comedy in Osuofia in London, to Saint Obi’s commanding presence in State of Emergency, these roles show the full range of Nollywood’s talent.
This list spotlights moments where skill, charisma, and storytelling blend so perfectly that the performance becomes as large as the film itself.
Here are the 20 best performances by an actor in a Nollywood movie, ranked.
Saint Obi stars as Detective Smith, a fearless lawman guided by an unshakable moral compass. He’s pitted against Omega 12, a militant group of ex-soldiers who turn to terrorism and hostage-taking to destabilise the nation.
As chaos escalates, Detective Smith becomes the linchpin of law enforcement’s response, fearlessly charging into danger when others hesitate.
What makes Obi’s performance memorable is not just the physical demands of the role, but the way he balances intensity with charisma, commanding the screen throughout.
In this comedy, Nkem Owoh plays Osuofia, a back-country villager who flies to London after inheriting his late brother’s estate and promptly confronts a world of cultural misreadings. From the moment Osuofia arrives, he commits to being embarrassingly honest in public, leading to some of his most human beats: the pride that won’t let his dignity be mocked and the brief tenderness when he confronts grief for his dead brother.
Osuofia in London became one of Nollywood’s most widely seen comedies and spawned a sequel and countless references in pop culture; Owoh’s performance turned into a durable persona that cemented his status as one of Nollywood’s most recognisable comedic stars.
Uzor Arukwe plays Chairman Chigozie Onouha, the flamboyant, sharp-witted and mischievous semi-literate owner of C & K Furniture, who also happens to be a suspected money launderer and ex-boss of Emeka (Jide Kene Achufusi). Arukwe’s Chairman Onouha lingers in the mind not just as a formidable obstacle for the Judah family and a funny supporting character, but as a compelling representation of opportunity and threat.
Arukwe finds the perfect balance. He delivers fun but seamlessly shifts into tension when his character’s power dynamic demands it.
Sam Dede plays Ebube, the fearless leader of the Issakaba vigilante group who takes up arms against the terror of armed robbers and ritualists wreaking havoc in Eastern Nigeria. He doesn’t just bark orders or swing machetes; he acts with the gravitas of a man burdened by responsibility, constantly negotiating the thin line between justice and violence.
It’s considered his best performance because it captured everything Sam Dede represents as an actor: intensity, intelligence, and an unshakeable screen presence. Issakaba became a cultural touchstone, one of Nollywood’s most influential films, largely because of Dede’s portrayal of Ebube.
In this musical drama that imagines the life and work of Ayinla Omowura, actor Lateef Adedimeji plays the legendary Àpàlà singer whose music made him a giant in southwestern Nigeria in the 1970s.
The movie follows Ayinla’s rise from local mainstay to star, his relationship with bandmates, lovers, and promoters, his appetite for the good life, his temper, and the tensions that swirl around a prideful, complicated artist.
He convincingly mimes complex lyrics, channelling the charismatic showmanship that makes Ayinla come alive on screen.
Timini Egbuson plays Dare, a spoiled, hot-headed young man born with a silver spoon who becomes trapped in an elevator with Abigail, a heavily pregnant woman played by Toyin Abraham. When she goes into labour in a stuck elevator, Dare has to strip away his arrogance and rise to save her life.
What begins as a clash of personalities slowly transforms into a redemptive journey, with Dare confronting his own immaturity and privilege in the face of a life-or-death crisis. This performance is widely considered his best because it required him to carry the emotional weight of this two-character movie.
Stan Nze plays Ahanna Okolo, a young man whose life unravels after a series of desperate choices pulls him into the world of organised crime and bloody retribution. As Ahanna rises from petty schemes to dangerous power, the story explores how loyalty, love, and the will to survive drive him to increasingly extreme acts—while the past he thought he escaped continues to haunt him.
Nze delivers a layered performance, making Ahanna empathetic without excusing his violence. He invites the audience into the mind of a man capable of terrible acts, yet still recognisably human.
Kelechi Udegbe plays Corporal Magnus, a struggling police officer weighed down by financial hardship and desperate to climb the ranks. His path collides with that of Mide, an aspiring musician, at a roadside checkpoint where bribes are a means of survival.
When Magnus accidentally shoots Mide, the incident sparks a chain of legal and social fallout that reverberates through a nation already scarred by state violence. Udegbe brings depth to the role, portraying Magnus not as villain or hero, but as a man caught between duty, survival, and conscience.
Tobi Bakre plays Femi, the nephew of a wealthy farmer who returns from the city, a wood carver rather than an academic. His unexpected chemistry with Funmi, his uncle’s young wife, becomes the catalyst for tragedy. He balances the attraction toward Funmi with the weight of his actions: there’s excitement in his movements, but each choice he makes carries a cost.
This is Tobi Bakre’s best performance because he refuses to play Femi as a straightforward romantic lead. Instead, he presents a character who is both alluring and flawed, whose charm leads to destruction.
Farmer’s Bride isn’t streaming anywhere at the moment.
Odunlade Adekola takes on the role of Elesin, the king’s horseman. When the Alaafin dies, Elesin is customarily obliged to accompany his ruler into the afterlife through a ritual self-sacrifice so that the king’s spirit may pass safely to the ancestors. Elesin greets his final day with a boisterous celebration, but his human frailty and the disruptive presence of colonial authorities interrupt the ritual.
Adekola’s performance anchors the movie with a rare mix of bravado and interior collapse, showing his dawning comprehension of loss. His body language and vocal restraint carry the film’s moral dissonance in ways that dialogue alone could not.
Femi Adebayo plays Ogunjimi, a fearsome and revered warlord whose ambition threatens to consume everything around him. The film unfolds as a battle of ideologies and wills, with Ogunjimi embodying ruthless power. It becomes a sweeping exploration of leadership, betrayal, and the corrupting lure of dominance.
What makes this Adebayo’s best performance is how thoroughly he embodies the contradictions of his character. He is not a one-dimensional villain; instead, he is both admirable and terrifying, a leader capable of inspiring loyalty but undone by pride and paranoia.
Richard Mofe-Damijo plays Gunpowder, a militant leader consumed by anger and disillusionment. He’s a man broken by betrayal and neglect, whose militancy is less about greed than about a desperate and wounded cry for justice. His physical presence commands the screen: every movement, barked order and glare conveys the frustration of an entire generation of Niger Delta youths.
Rather than a one-note villain or rebel, he emerges as a fully realised character whose choices are shaped by systemic failures. RMD strips away the glamour usually associated with his screen presence and leans into grit and anguish, creating a performance that is as unsettling as it is captivating.
Fakunle Rotimi plays Kazeem, the calculating political figure whose manipulative grip on the gangs of Lagos underscores the systemic corruption at the heart of Lagos politics. But unlike the overtly violent gang leaders, Kazeem embodies a more dangerous type of villain: the one cloaked in respectability yet pulling the deadliest triggers from the shadows.
This performance is compelling because Rotimi allows menace to seep through subtlety rather than loud declarations. His tone and expressions are measured, yet the weight of his authority is undeniable. His restraint creates an aura of unpredictability: you are never quite sure when his calm will tilt into cruelty.
Ramsey Nouah plays Femi, a carefree youth who grows into an accomplished man whose world slowly corrodes under jealousy, betrayal, and supernatural dread. He, alongside his friend Sola (Kunle Afolayan) discovers a mysterious figurine that grants seven years of good luck to whoever possesses it. They find success but after some time, misfortune finds them. Now, they’re forced to confront whether fate, superstition or result of their choices.
The story darkens as he shades Femi with insecurity and resentment. This movie showed him not just as a matinee idol but as a serious dramatic actor, capable of carrying complex themes of destiny, greed, and human weakness.
Gabriel Afolayan plays Kossi, a young Togolese boy trafficked into Nigeria as a domestic servant who grows into a brilliant yet conflicted man. The film tells the story of Kossi’s transformation into a self-taught genius with an unusual gift for counterfeiting. When his criminal ingenuity draws the attention of law enforcement and dangerous circles alike, Kossi must navigate the thin line between survival, ambition, and redemption.
As Kossi, Afolayan plays a character whose contradictions demand subtlety and restraint. He doesn’t play Kossi as an antihero; instead, he makes him a layered character who’s equally sympathetic, dangerous, and inspiring.
Jacobs plays Makinde Esho, a mild-mannered Lagos-based corporate executive who travels to Abuja to secure a crucial government contract. What should be a simple meeting with a ministry official turns into days of endless waiting, stonewalling, and power games, thanks mainly to the formidable secretary Clara Ikemba (Rita Dominic).
As Makinde navigates this frustrating maze, he also develops an unexpected bond with Ejura (Linda Ejiofor), a young National Youth Service Corps member.
As Makinde, Femi Jacobs embodies the quintessential everyman caught by Nigeria’s institutional inefficiencies.
Kunle Remi plays Saro, a cloth weaver who drifts into a town and into the world of Queen Arolake (Bimbo Ademoye). A sudden and forbidden romance with the queen pulls him into palace life and danger.
Out of love, Arolake gives him a small, magical gourd that can restore the dead, but Saro uses the power to change his fortune. Wealth and influence follow, but so do moral compromise and supernatural consequence.
What starts as a rags-to-riches tale quickly becomes a cautionary drama about the cost of cheating death and the corrosion of character when power meets appetite. Remi threads Saro’s contradictions carefully as he makes the character credible as an ordinary working man, then believable as someone seduced by privilege, and finally as a defeated figure haunted by the fallout of his choices.
Wale Ojo plays Timi, a once brilliant and devout clergyman whose life spirals into despair after a devastating personal tragedy. He abandons his faith, isolates himself from the world, and lives as a broken shell of the man he once was, until a young protégé, Elijah (Chimezie Imo), comes into his life, forcing him to confront his grief, rediscover purpose and find redemption.
As Timi, Wale Ojo embodies the arc of a man drowning in silence and regret; his performance captures the long shadow grief can cast on a life.
OC Ukeje plays Kole Badmus, the groom whose calm façade cracks as old mistakes and old loves collide with the promise of a new life. The future of his relationship is thrown into chaos when a figure from the groom’s past turns up with a baby on the eve of the wedding.
In this film, Ukeje moves with both quiet intensity and vulnerability: in lighter moments, he can read as awkwardly charming, and in tense scenes, he switches into a man who must answer for choices he once thought were buried.
In this movie, Ukeje is the central character and his acting proves him as an actor capable of delivering complex romantic roles.
Set in the fictional Yoruba town of Jogbo, Kola Oyewo plays Lapite, an ambitious nobleman who conspires to ascend the throne without undergoing the sacred rites. He ushers in a reign of corruption, greed, and abuse of power. His defiance of tradition unbalances the kingdom, setting off a chain of turmoil, betrayal, and resistance that allegorises the decay of governance and morality in Nigeria’s political life.
Playing the role of the manipulative and power-hungry king, Oyewo embodies the archetypal political elite: eloquent, cunning and deeply dangerous to the stability of the community. His character is both a product and a driver of Jogbo’s political crisis, and his interpretation gives flesh to Kelani’s vision.
House parties are a great measure of a good time. Some people show up to scatter the dance floor, others post up by the drinks, and a few are just there to gist until sunrise.
You need to take this quiz to find out what kind of house party guest you are. Shall we?
