Nollywood actress and filmmaker Bolaji Ogunmola has issued a warning about the challenges of producing movies for YouTube, emphasizing that the platform was never intended to serve as a film distribution channel. In an interview with broadcaster Jay On-Air, Ogunmola shed light on the financial pressures faced by Nigerian creators striving to tap into YouTube’s vast audience.
Ogunmola explained that actors’ fees have escalated significantly, ranging from N1 million to N5 million for just a four-day shoot. This steep cost quickly diminishes any potential profit margin. She remarked, “YouTube was never designed for films. Film is a very expensive art,” and pointed out that many viewers mistakenly believe that a video with millions of views equates to substantial earnings for its producer. In reality, the revenue generated through ad-based monetization often falls far short of covering production expenses.
The filmmaker urged the public to adopt a more constructive mindset when critiquing YouTube movies, emphasizing that even the most modestly budgeted films require a financial investment. “Even the worst film on YouTube costs money to make,” she asserted, encouraging audiences to appreciate the resources involved in creating each title rather than dismissing them as low-quality or amateur.
Ogunmola also highlighted Nigeria’s unique dependence on YouTube for film distribution, attributing this trend to the country’s fragmented traditional distribution network. With limited cinema infrastructure and inconsistent theatrical releases, many Nigerian filmmakers have turned to YouTube as their primary outlet, despite its inadequacy for the economics of feature-length productions.
Her comments come amid an ongoing debate about the sustainability of digital-first filmmaking across Africa. As more creators explore online releases, the industry grapples with the tension between accessibility and financial viability. Stakeholders are closely monitoring whether alternative revenue models—such as brand partnerships, direct-to-consumer subscriptions, or government support—can bridge the gap between creative aspirations and economic realities.
Ogunmola’s remarks serve as a reminder that while YouTube provides unprecedented reach, its monetization structure does not align with the high costs associated with film production. For Nigeria’s emerging digital cinema sector, the challenge lies in developing distribution channels that respect both artistic integrity and the economic realities faced by creators.
