Veteran Nollywood actor Jim Iyke has warned that internal sabotage poses the greatest threat to the growth of Nigeria’s film industry. Speaking to the BBC, the actor said the sector is “full of saboteurs” who, in his view, are unable to curb their own destructive behaviour and “need therapy.”
Iyke, whose career spans more than two decades and includes a string of commercially successful films, said that if he could change one aspect of Nollywood it would be to “purge saboteurs from the industry.” He added that these individuals hinder progress and diminish the potential of Nigerian cinema on both local and international stages.
The interview also touched on a personal milestone for Iyke. He recounted the moment his son praised his performance, calling him a “genius.” The compliment moved the actor to tears, prompting him to retreat to the bathroom to compose himself.
When asked about his preferred collaborators, Iyke identified actress Kate Henshaw as the colleague he enjoys working with most, citing their on‑screen chemistry and professional rapport.
Industry analysts note that concerns about internal sabotage are not new. Critics have long pointed to issues such as unprofessional conduct, lack of adherence to production schedules, and opportunistic behaviour that undermine project budgets and timelines. Iyke’s remarks echo calls from producers and guilds for stricter enforcement of ethical standards and better conflict‑resolution mechanisms within Nollywood.
The actor’s comments arrive at a time when the Nigerian film sector is experiencing heightened global attention. Streaming platforms and international festivals have begun showcasing Nollywood titles, creating pressure to professionalise operations and improve quality control. Stakeholders say that addressing internal friction could enhance the industry’s credibility, attract foreign investment, and facilitate talent retention.
Jim Iyke’s appeal for a “purge” underscores a broader conversation about accountability and self‑regulation in African cinema. While his call for therapy may seem unconventional, it highlights the emotional toll that workplace sabotage can exact on creative professionals.
As Nollywood continues its expansion, industry bodies are expected to review existing codes of conduct and consider training programmes aimed at reducing disruptive practices. Whether such measures will satisfy veteran actors like Iyke remains to be seen, but the discussion signals a growing willingness among senior practitioners to confront internal challenges and safeguard the sector’s future.
