Nollywood actress and producer Eniola Ajao’s latest film, Owambe Thieves, has stormed the Nigerian box office, earning an impressive ₦53.6 million in its first three days. The crime drama, which premiered nationwide on Easter Friday, quickly became one of the most talked-about releases of April 2025, second only to the blockbuster Labake Olododo, which continues to dominate with a cumulative gross of ₦224.9 million. Owambe Thieves, directed by Adeoluwa Owu, known for his work on A Tribe Called Judah and Jagun Jagun, tells the story of Cheta and Lola, a young couple struggling to make ends meet during a severe economic downturn in Nigeria. Faced with mounting pressures, the couple makes a desperate choice that draws them into a world of high-stakes crime, betrayal, and moral dilemmas. The film’s Lagos premiere on April 13 was a vibrant affair, blending red carpet glamour with cultural celebration. Guests arrived in traditional Nigerian attire, including elaborate aso ebi and regal agbadas, turning the event into a real-life “owambe” party that echoed the film’s title. For Ajao, this box office success marks another milestone in a career that began in 2004. She has become a familiar face in Nollywood, known for her expressive performances in films such as Eniola, Erin Orin, Daramola, The Vendor, and Yeye Alara. As a producer, she previously garnered widespread acclaim for her 2024 fantasy epic Beast of Two Worlds (Ajakaju), which grossed over ₦200 million in cinemas. “Owambe Thieves is more than just a crime story,” Ajao explained. “It’s a reflection of the pressures and choices many Nigerians face, wrapped in the familiar setting of our vibrant party culture.” The film, co-produced with Barbara Babarinsa and distributed by FilmOne Entertainment, stands out for its blend of social commentary and entertainment. Despite a crowded field of April releases, Owambe Thieves has secured its place as one of 2025’s most notable Nollywood debuts.

The 2025 action thriller A Working Man, starring Jason Statham and directed by David Ayer, is making waves at the Nigerian box office, grossing ₦126.9 million after three weeks in cinemas. The film opened strong with ₦34.9 million during its first weekend and maintained steady earnings, closing its first full week at ₦37.8 million. Despite competition from popular local films like Labake Olododo and Ajakaju, which have crossed the ₦200 million mark, A Working Man has carved out a solid niche among Nigerian audiences who continue to show enthusiasm for Hollywood action blockbusters. Internationally, the film has enjoyed a respectable run, earning $68.8 million worldwide against a $40 million production budget. North America accounted for $31.3 million of that total, with other key markets including China, Germany, Russia, Saudi Arabia, and the UK. In Egypt, the film earned approximately 3.33 million Egyptian pounds (about $108,000). Directed by David Ayer, known for End of Watch and Suicide Squad, and co-written by Sylvester Stallone, A Working Man is based on Chuck Dixon’s 2014 novel Levon’s Trade. The story follows Levon Cade, a former special forces operative who is pulled back into a dangerous world of corruption and violence. Alongside Statham, the cast includes Michael Peña, David Harbour, and Jason Flemyng. Critics have given the film mixed reviews, with a 51% approval rating on Rotten Tomatoes and a Metacritic score of 52 out of 100. However, audiences have responded more favorably, awarding the film a “B” grade on CinemaScore, indicating it meets expectations for fans of Statham’s signature action style.

Nigerian music superstar Burna Boy has shed light on the significant income gap between local and international music streams, revealing that Nigerian artists earn far less from local streams compared to their counterparts in the U.S., U.K., and Europe. The Grammy-winning artist disclosed that while 1 million streams in Nigeria generate just $300 to $400 for an artist, the same number of streams in the U.S. or U.K. can earn between $3,000 and $4,000. Burna Boy, known for global hits like Ye and Anybody, shared his thoughts on Instagram, calling attention to the financial challenges faced by Nigerian musicians who rely heavily on local streaming revenue. “Having the number one song on a Nigerian streaming platform doesn’t mean much financially,” he said, urging his peers to explore opportunities in international markets where payouts are significantly higher. The disparity stems from several factors, including subscription fees, ad revenue, and currency exchange rates. In Nigeria, streaming platforms like Spotify Premium charge as little as ₦1,300 (about $0.82) per month, far lower than the $10.99 monthly fee in the U.S. Similarly, YouTube Music Premium costs ₦1,300 ($0.82) in Nigeria compared to $11.99 in the U.S. Additionally, Nigeria’s smaller market size and weaker currency exacerbate the issue. For example, the Naira’s value has declined sharply over recent years, with exchange rates rising from ₦461.5/$1 at the start of 2023 to ₦1,535/$1 by the end of 2024. This economic reality limits ad revenue and paying subscribers in Nigeria, directly impacting how much artists earn per stream. According to Spotify’s 2024 Loud & Clear report, Nigerian artists earned over ₦58 billion (approximately $122 million) in royalties from the platform last year, more than double what they earned in 2023 and five times their 2022 earnings. This growth reflects the increasing global popularity of Afrobeats and other Nigerian genres. However, Burna Boy emphasized that while these numbers are promising, local earnings are still pale compared to those of international artists. He encouraged Nigerian musicians to expand their reach beyond local audiences to achieve better financial sustainability. Burna Boy’s comments highlight a broader issue within Africa’s creative industries, the need for improved revenue models that reflect the true value of local talent. While platforms like Spotify have amplified Nigerian music globally, there’s still a long way to go in ensuring fair compensation for African artists.