Oversabi Aunty made about ₦87.8 million in its opening weekend, with preview screenings adding roughly ₦12.7 million. 

That pushed total opening earnings to around ₦100.5 million, making it the second-biggest Nollywood opening of the year so far. 

The result places the film just behind the top-performing local release of 2025 and confirms that audiences are still turning out in large numbers for commercial comedies led by familiar stars.

What makes this release interesting is that it’s Abraham’s first major outing as a big-screen director. In her career, she’s moving from being a reliable lead actor to a creative mind building projects from behind the camera. 

The turnout across cinemas in Nigeria and Ghana shows that the strategy paid off, helped by heavy pre-release promotion and early audience buzz.

The story itself centres on Toun, a church usher whose constant urge to correct everyone around her spirals into chaos. The humour is simple, rooted in everyday social behaviour, and supported by a wide cast that includes Mike Ezuruonye, Efe Irele, Queen Nwokoye, Jemima Osunde, Enioluwa Adeoluwa, Tana Adelana and Toyin Afolayan. 

The premiere, held in Lagos on December 14, drew attention from across sectors and helped build momentum before release.

Abraham’s track record explains why distributors were confident. Her previous hit, Alakada: Bad & Boujee, closed its cinema run at ₦500.3 million after sustaining interest for 13 weeks. It crossed ₦100 million within days of release and maintained strong weekly earnings through the festive period. 

That consistency has turned Abraham into one of Nollywood’s most dependable box office names, at a time when expenses leave little margin for slow starts.

If Oversabi Aunty shows strength, Behind the Scenes shows scale. Funke Akindele’s latest film crossed ₦500 million just two weeks after hitting cinemas, reaching about ₦514 million and becoming the fastest Nollywood title to hit that milestone. 

According to distributors, it is also the highest-grossing Nollywood film of 2025 so far, and it led the weekend charts in both Nigeria and Ghana.

The run began with a record-breaking opening weekend. The film generated more than ₦200 million between December 12 and 14, with over 34,500 tickets sold in that period alone. 

Advance screenings had already brought in ₦27.2 million, the highest ever recorded for a local title, while an earlier UK debut sold out multiple screens, pointing to strong diaspora demand even before the West African release.

Directed by Akindele alongside Tunde Olaoye, the film follows Aderonke “Ronky-Fella” Faniran, a successful real estate entrepreneur whose generosity starts to affect her personal life. 

With a runtime of two hours and 24 minutes and a 12A rating, the drama targets a broad audience and is currently showing in major cities including Lagos, Abuja, Kaduna and Accra. 

Akindele has disclosed that the production budget exceeded ₦1 billion, a figure that underlines how high the financial stakes have become.

Together, these two releases point to a bigger change in Nollywood. Budgets are climbing, marketing is becoming more aggressive, and opening weekends now carry more weight than ever. 

Currency challenges and higher production expenditures mean filmmakers cannot afford slow burns; they need fast returns.

At the same time, stronger cinema infrastructure and diaspora interest, especially in the UK, are expanding the revenue base beyond Nigeria alone.

The private screening, held in Lagos, brought together media professionals, filmmakers, and Canon’s creative community to experience the film’s moral lesson of resilience, determination, and triumph. 

Beyond a film event, it was a statement of Canon’s growing investment in African storytelling and the next generation of visual creators.

“At Canon, we believe in the power of storytelling and the importance of equipping creators with the right tools to express their vision,” said Rashad Ghani, B2C Business Unit Director for Canon Central and North Africa. 

“Our collaboration with Nora on Racket Queen reflects how technology and artistry come together to elevate filmmaking in Africa. We’re proud to continue empowering creators and building a thriving creative community across the region.”

The event featured two sessions, which included a morning media screening that offered an intimate viewing for journalists, followed by an evening industry gathering designed for filmmakers and Canon’s creative partners. 

Each moment spotlighted Canon’s focus on enhancing film culture in Nigeria, while ensuring collaboration and conversation around emerging cinematic talent.

Adding to the excitement, Canon used the platform to unveil the EOS C50, its new entry-level cinema camera. Compact, powerful, and designed for accessibility, the C50 expands Canon’s professional lineup and supports aspiring filmmakers eager to step into professional production.

Racket Queen, Awolowo’s latest project in collaboration with Canon, follows the journey of a young girl who discovers her love for tennis and pursues her dream against all odds, guided by her mother’s solid support. 

With standout performances from Pamilerin Ayodeji, Tunbosun Aiyedehin, Kayode Jnr Ojuolape, and Folu Storms, the film captures the spirit of perseverance and hope that aligns with many African stories.

“Working with Canon is always a creative partnership built on trust and innovation,” Awolowo said. “The EOS C400 gave me the flexibility and technical precision I needed to bring Racket Queen to life. I’m proud of what we achieved together and grateful for Canon’s continued support for filmmakers like myself.”

Awolowo spoke about her creative journey, from studying accounting to becoming one of Nigeria’s most distinctive visual storytellers. She described how her approach to cinematography embraces imperfection, movement, and the emotional weight of real life, blending visual symbolism with narrative sincerity.

Canon’s B2B Director for Africa, Fashad, commended Awolowo’s talent and the spirit of Nigerian creativity that drives the country’s entertainment industry.

“Every time I visit Lagos, I am reminded of the resilience and passion Nigerians bring to their craft,” he said. “This film celebrates that same spirit, resilience, determination, and the will to achieve. Talent is everywhere; it only needs to be recognised and nurtured. That’s why we are here, to back creativity, empower creators, and stand by them with our products, support, and technology.”

The collaboration aligns with Canon’s Innovation, Customer, and Employee Experience (ICE) strategy, which ensures creativity through access to advanced tools, mentorship, and training. 

For over a decade, Canon has been a driving force in Nigeria’s visual industry, from partnerships with Netflix productions to hands-on training for content creators across the continent.

In Racket Queen, Awolowo goes beyond sports to deliver a heartfelt story about vision, family, and faith in one’s dreams, a reflection of Nigeria’s creative spirit.