Afolayan Offers Olive Branch in Akindele Marketing Row

The perceived friction between two of Nollywood’s most influential titans, Kunle Afolayan and Funke Akindele, appears to be settling into a phase of professional reconciliation. In a Sunday appearance on ARISE News, Afolayan addressed the digital firestorm that erupted following his comments on modern film marketing, clarifying that his relationship with the box-office queen remains rooted in a lifelong bond.

The controversy was sparked by remarks Afolayan made at the Lagos Business of Film Summit, where he described the high-energy “dancing and skit-making” promotional tactics now common in cinema as “draining” and “unsustainable” for his personal brand. While he did not explicitly aim to diminish others, Akindele—whose recent blockbuster Behind The Scenes shattered records with a ₦2.4 billion gross—took to social media to defend her method, urging colleagues not to allow “jealousy” to cloud their judgment.

Addressing the fallout, Afolayan revealed that Akindele had personally reached out in a tense phone call, expressing her displeasure at being a topic of his interviews. “She’s my sister; we grew up together,” Afolayan noted, expressing surprise at the intensity of the reaction. He was quick to offer a public apology, stating, “If for any reason she feels offended, I am sorry,” while emphasizing that his intent was never to critique her specifically but to discuss the broader economics of the industry.

Far from being a detractor, the Aníkúlápó creator used the interview to urge young filmmakers to study Akindele’s trajectory. He praised her consistent brand growth from her early Jenifa days, calling it a model of success that requires immense energy and dedication. Afolayan clarified that his preference for streaming platforms and low-impact marketing is a personal choice based on his diverse responsibilities, which span running a resort, a cultural center, and a film academy.

Afolayan’s central argument remains focused on the sustainability of the “billion-naira” box office hype. He noted that after cinema shares, taxes, and investor splits, a ₦2 billion gross might only leave a producer with a fraction of that amount, often making the grueling promotional cycle financially questionable for those with multiple overheads. He stressed that while Akindele’s model works perfectly for her brand, the industry must be broad enough to accommodate various distribution strategies without turning difference into discord.

As the dust settles, Afolayan’s remarks serve as a reminder of the evolving landscape of Nollywood. The exchange highlights a healthy, albeit heated, debate over how to balance the art of filmmaking with the exhausting demands of the digital age. By reaffirming his respect for Akindele’s “consistent growth,” Afolayan has signaled that while their methods may differ, their shared goal remains the advancement of African cinema.