Nigeria’s Film Industry Has A Radical Plan To Save Itself From Streaming Giants
As Netflix and Amazon Prime retreat from Nigeria’s original content scene, two of Nollywood’s biggest players, Inkblot Studios and Filmhouse Group, are betting that the time is finally right for a homegrown streaming service. Their joint venture, Kava, is set to launch in August 2025, promising a curated library of Nollywood films and series backed by scale, strategy, and a touch of realism.
At first glance, it’s an ambitious leap. Kava enters a streaming landscape littered with cautionary tales—iROKOtv chief among them—while global streamers pull back on African investments and creators increasingly pivot to YouTube in search of monetisation and autonomy.
But Kava’s founders insist they’ve learned from past failures. And rather than chase Netflix’s scale or Iroko’s first-mover status, they’re building for depth—with a model that leans on high-quality local content, diaspora appeal, and a sustainable, multi-platform ecosystem.
“We’re not just streaming films. We’re fueling careers and building an infrastructure for African storytelling,” says Kene Okwuosa, Kava’s co-CEO and head of Filmhouse Group.
Filmhouse boasts West Africa’s largest cinema chain and controls a vertically integrated studio-distribution network through FilmOne. Inkblot Studios, behind hits like The Set Up and Up North, was the first Nigerian production house to ink licensing deals with both Netflix and Amazon.
The platform launches with over 30 premium Nollywood titles and promises fresh drops weekly. Featured titles include Alakada Bad and Boujee, Owambe Thieves, What About Us, and House Job. Originals are in the pipeline, and Kava eventually plans to scale beyond Nigeria to tell stories across Africa.
But more than content, the founders say, Kava is a “digital infrastructure” project; a way to centralise Nollywood’s fractured monetisation channels, serve fans directly, and offer creators fairer economics than the ad-driven instability of YouTube or the bureaucratic lag of foreign licensing.
“When we deliver content at scale to audiences beyond ourselves, they’ll fall in love with the stories. They just don’t know it yet,” says Inkblot’s Chinaza Onuzo, who serves as Kava’s co-CEO.
Kava arrives at a transitional moment. Netflix and Prime Video have dialled back their local originals after a brief Nollywood shopping spree between 2020 and 2022. What’s hitting screens now, like Kemi Adetiba’s To Kill A Monkey, are the last remnants of that era. New commissions have slowed to a crawl.
This vacuum has driven creators to YouTube, where lighter, faster productions offer greater creative control and instant ad payouts. But the economics remain brutal. CPMs in Nigeria hover around USD 1.00, and a star actor might cost millions of naira, meaning millions of weekly views are required to break even, let alone profit.
Subscription platforms (SVODs) aren’t much better. iROKOtv, once hailed as the “Netflix of Africa,” spent over USD 100 M trying to crack the Nigerian market, only to retreat in 2023 and pivot to diaspora users in the U.S. and U.K. Its active user base peaked at under 200,000. Even its founder Jason Njoku now insists: “SVOD can’t work here.”
Fresh attempts at wooing the diaspora indicate a push for untapped opportunities, however. Roughly five million Nigerians live abroad, sending more than USD 20 B home every year. They’re already used to subscriptions and hungry for high-quality content that reflects their culture. Kava, along with other newcomer rivals, such as EbonlyLife ON Plus, is chasing that niche.
Kava’s leadership sees itself less as a Netflix clone and more of a niche but deeply committed hub for loyal fans. Product chief Damola Ademola compares the model to anime or horror streaming services like Shudder: “African movies can easily be just like that,” he told TechCabal.
Funding is in motion. A friends-and-family round has already closed, with institutional backing from TLG Capital and VestedWorld. More capital will be instrumental in expanding Kava’s footprint across Africa and into the U.K. and Europe. Yet even with funding, no one is pretending this will be easy.
Feature Image Credits: BusinessDayNG
