Architects of new Nollywood

Scriptwriter, Collins Okoh

Adaora Ndaguba is a second-year Mass Communication student at Pan-Atlantic University

A few years ago, I did not know many young people who would spend money to watch any film made within 100 km of the Nigerian continent. But even with cinema prices at record highs, we are somehow seeing more young people flocking to see our own films on the big screen. Nollywood is clearly undergoing a revolution, backed by bigger budgets, carefully cultivated talent, and a new generation of creatives determined to see our stories shine across the globe.

However, while actors and directors usually receive the most applause, the architects of these stories are some of the most integral players in the industry, pushing it beyond its traditional limits. And who better embodies this than Collins Okoh, a screenwriter whose passion for storytelling has led him to craft some of Nollywood’s biggest commercial successes and lend the industry a fresh voice.

You may not have heard of him, but I’m almost certain you have heard of or seen My Siblings and I (2019), Everybody Loves Jenifa, or A Tribe Called Judah at least once. The latter two broke industry records: A Tribe Called Judah was the first Nigerian film to exceed 1 billion naira at the box office, and Everybody Loves Jenifa did the same in just 19 days. His work on A Tribe Called Judah also earned him a nomination for “Best Movie Writer” at the 2024 AMVCA’s, and YNaija magazine named him amongst its “Top 100 Most Impactful People in Film” in 2025.

These accolades reveal not just his creative prowess, but also a deep understanding of what contemporary Nigerians want in a story. A theme common to many of his works is the trials of the everyday Nigerian. In an interview with The Mosaic Magazine, he highlighted the importance of this to the audience:

“Nigerians face challenges every day, yet they continue to dream, to laugh, to love, to survive…So I enjoy telling stories that reflect the Nigerian realities, because audiences connect to what they see on screen…they are happy because they get to know that they are not the only ones going through this.”

His audience-focused approach helps explain his frequent collaborations with Funke Akindele, the award-winning actress and director behind “Jenifa”, the comedic character many Nigerians have grown to love. When asked about the secret behind their synergy, he told us about his admiration for her “deep, unusual understanding of them (her audience)” and how she “knows how to balance entertainment with emotion”. He went further to tell us about how her brand “is built for connecting with people”, which he says makes storytelling with her “both challenging and rewarding”, as there is a lot to live up to, but viewers are guaranteed to have a good time.

But are they really having a good time? Many young people today still believe that most Nollywood is not good, especially in terms of storytelling.

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Rather than reject this criticism entirely, Collins attested that “every industry in the world, Hollywood, Bollywood…produces work of varying quality”, which is especially true of Nollywood, an industry still developing culturally and financially.

He then went on to cite the main smokescreen concealing the potential of many Nigerians stories, explaining how “the globally acclaimed projects in every industry often represent what they often represent the best of what the industry can offer. But then there are many excellent Nigerian stories that do not receive visibility…So when people talk about Nigerians, a lot of Nollywood films do not meet their expectations.”

This illuminates a major gap in the industry; as we aim for higher quality, more intentional storytelling, it is important that we remember to be intentional in making sure that our stories are actually reaching the people they are crafted for, especially if we want to decolonise the younger generations’ view of creative work in any meaningful way.

Yet focusing solely on the industry’s shortcomings risks overlooking just how far it has come. In recent years, Nollywood has experienced a remarkable period of growth, attracting larger audiences, securing international recognition, and producing films that can confidently compete on a global stage. According to Collins Okoh, part of the industry’s recent success stems from a reduction in our dependency on foreign stories. “I believe that when you tell a story with conviction and craft, audiences everywhere in the world feel it,” he explains, “We’ve stopped apologising for who we are on screen.”

The changing face of Nollywood is also reflected in its audience. Okoh describes young people as “the most story-literate generation that has ever existed,” arguing that they have a keen instinct for authenticity and little patience for being talked down to. Their influence shows up not only in the stories being told but also in how they are consumed. The rise of streaming platforms has created space for more complex narratives and longer character arcs, allowing filmmakers to experiment beyond the constraints of traditional cinema. For Okoh, these developments signal an audience that is increasingly sophisticated, curious, and willing to engage with stories on its own terms.

In line with the audience’s growing awareness and voice, he also highlighted the trend toward proper attribution, credit and compensation, especially for writers being taken seriously in the industry. In line with our theme, he shed light on the deeper insight behind the trend. While such challenges still exist, he believes the recent pushback against them points towards a “maturing” industry, one that actually understands the value of creative labour.

More than a successful screenwriter, Collins Okoh is an emblem of the ever-evolving industry. His dedication to his craft and aspiration towards being “a writer who helped elevate the quality of storytelling” and inspired others to believe that Nigerian stories can be told “at the highest level” reflects the architecture of the “new Nollywood” – ambitious, conscious and proudly Nigerian.