Francis Odega has been around a long time. He’s the kind of actor who remembers the smell of film sets, the scramble for good scripts, and the late nights when everyone thought they were building something lasting. So when he says the quality of Nollywood movies has dropped, people listen — even if you don’t agree with everything he says.
A different era, or just nostalgia?
Odega says that back in his heyday, Nollywood made films people still remember. He talks about one solid script turning into one unforgettable movie. That’s not how he sees things now. These days, he argues, a single script can spawn multiple weak films — seven, he complained on the podcast — which feels wrong to him. I can’t say he’s completely off-base. There’s a sense I get sometimes, watching streaming lists, that quantity has outpaced care. But then again, maybe I’m being a bit romantic about the past. Memory smooths the rough edges, right?
He stresses his pioneer status: the industry wasn’t always called Nollywood. At first, it was the Nigerian Actors Guild (NAG), later renamed Actors’ Guild of Nigeria (AGN). He says he helped build the industry before it became a big deal, working for thirty years in film. That matters, because his view is grounded in experience. He hasn’t just watched Nollywood change — he’s lived through the change. That gives his critique weight, even if it’s not the full picture.
Where the problems might lie
One big issue Odega points to is repetition and overuse. The same script or story idea recycled into multiple lesser films — that’s something that drains attention and lowers standards. When you hear that a single script can produce several movies, you begin to wonder about editing, direction, and the care that goes into production. It’s like seeing the same tune played by different bands but none of them bothering to practice. It’s familiar and, well, a bit disappointing.
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Another thing that comes through in the podcast is a sense of lost craft. Early Nollywood—he argues—put more emphasis on making each film count. People worked hard to get a story right, to make it stick in the mind. Nowadays, the pressure to produce quickly for platforms and demand might mean corners get cut. I find that convincing, but also partial. There are still films now that surprise me, that break expectations. So the decline isn’t absolute. It’s selective, uneven.
A personal note — and some ambiguity
I’ve seen some modern Nollywood films that impress: thoughtful storytelling, strong cinematography, surprising performances. So, while Odega’s complaints ring true in many cases, I’m hesitant to paint the whole industry with the same brush. It’s messy, like any growing thing. Some parts rot, some parts bloom.
Also, he talks about being a pioneer with a kind of pride you’d expect. When someone has been inside an industry for decades, they develop a particular standard — not always fair to newcomers, perhaps, but sincere. He remembers a time when standards were defined differently. Does that mean he’s right that everything’s worse now? Not necessarily. But his view is a useful reminder: success can bring scale, which can dilute quality if care isn’t maintained.
Where things could improve
If you take Odega’s points seriously, there are a few obvious fixes. Focused scripts that aren’t stretched thin across multiple productions. Workshops and mentoring to pass experience from veterans to young filmmakers. Stronger editorial oversight. Maybe even reputational incentives — festivals, critics, awards that encourage taking time on a film rather than churning content.
I’m cautious about solutions. Change needs funding, time, and a willingness to resist quick money. That’s easier to say than do. Yet, I’d like to see more producers choose patience over speed sometimes. You know when a film was clearly nurtured versus one that was slapped together. Audiences notice that too, even if they don’t always say it.
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Final thoughts
Francis Odega’s comments are blunt — perhaps a bit bitter, maybe nostalgic — but they’re not empty. He’s sharing a first-hand perspective from someone who helped build Nollywood. I don’t think the whole industry has collapsed into low-quality content, but I do think the pressure to produce more has introduced real problems. Some films suffer; others rise. That contradiction is normal in any creative field.
So, listen to voices like Odega’s. They won’t have all the answers, but they do help point out where care and craft might be slipping. And maybe, if enough people pay attention, the tide will shift back toward fewer, better-made films. Or maybe it won’t. Either way, it’s worth watching — both the hits and the misses.
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