This digital explosion in Nigeria is triggered in periods like Easter. What used to be a calm religious period has become a peak window for streaming, mobile engagement and digital spending.

Lately, Easter has gone beyond being observed in churches to being consumed across screens.

Pews to platforms

There is still strong church attendance, which has not changed. What has changed is what happens before and after.

Phones are now part of the experience.

Nigeria has over 151 million internet subscribers, almost entirely driven by mobile access. This means Easter is no longer a shared schedule but a personalised, on-demand experience.

The growth of the “digital pulpit”

One of the most obvious changes this year is what I would call the digital pulpit.

Worship is no more tied to location, it moves with the user.

Podcasts, livestreams and recorded sermons are now done alongside traditional services. In many cases, they extend them. A message heard on Sunday is replayed on Monday morning traffic.

The data supports it:

• Faith-based podcast listening is steeply increasing
• More than 90% of streams happen on mobile devices

This is structured engagement not casual listening. Voices like Emmanuel Iren and Femi Lazarus are building large digital audiences. Their content blends theology with production quality, clear audio, clipped messages, and distribution across platforms.

The growth stresses that spiritual influence is longer limited to physical reach because digital distribution now defines it.

What Nigerians are watching: streaming takes over

Easter viewing has changed completely.

It used to be scheduled television, a few biblical films, and fixed times. Now it is on-demand.

• Church services stream live on YouTube
• Films are watched on mobile screens
• Content is replayed, clipped, and shared

At the same time, Nollywood is adjusting.

New titles like Avante (released April 3) are entering a congested digital space, while Behind the Scenes still tops as the highest-grossing Nollywood title into 2026.

Looking at distribution, platforms such as Africa Magic and YouTube are competing for attention, especially for indigenous content. Yoruba and Igbo language productions have seen around 87% growth in viewership and listening over the past year.

Easter is now a competition for attention, not just a moment of reflection.

The gospel streaming explosion

Music is still major during Easter, but the format has changed. Streaming platforms now carry most of the weight.

Data from Spotify shows that gospel and praise streams have grown by over 5,000% since 2021, ascertaining structural growth.

This week, playlists are doing the work once handled by choirs and CDs.

Artists like:

• Nathaniel Bassey
• Moses Bliss
• Dunsin Oyekan

are topping streams.

Dunsin Oyekan’s “Naija Worship” playlist takeover in early April reflects a wider shift. Curation has become as important as creation.

Worship is now on-demand, replayable, and algorithm-driven.

Reading, but differently

Reading has not disappeared, it has just changed shape.

Long books have given way to:

• Daily devotionals
• Short scripture posts
• Mobile-first reading

Apps like YouVersion Bible App are highly used here.

WhatsApp broadcasts and social media captions now carry a large share of spiritual content. It is quick, shareable and constant.

Reflection has been compressed into digital moments.

Gaming: the competitor

There is another aspect to Easter that isn’t usually unnoticed, and that’s gaming.

Holidays create downtime. Downtime drives play.

Titles like:

• Call of Duty: Mobile
• EA Sports FC Mobile

compete directly with films, sermons and music for attention.

Attention is limited.

Even during religious periods, platforms are competing for the same hours.

Social media: where Easter is performed

Easter now lives online.

• Instagram carries fashion and lifestyle
• TikTok spreads choir clips and sermon highlights
• WhatsApp distributes devotionals

What used to be private is now shared.

Easter is no longer just experienced, it is performed.

The economics: follow the data

Behind all this activity is money.

Nigeria’s telecom sector has changed. Data, not voice, now drives revenue growth.

Monthly internet spending has surged, with Nigerians spending an estimated ₦721 billion on data in a single month in 2025.

The beneficiaries are:

• MTN Nigeria
• Airtel Nigeria
• Streaming platforms
• Content creators

There is also a behavioural change.

People are now gifting:

• Data bundles
• Subscriptions
• Digital access

instead of physical items.

Easter consumption can now be measured in gigabytes.

A change driven by pressure

The high prices have made travel and large gatherings more expensive. Many people are staying in, and when they stay in, they go online.

Digital becomes the substitute.

It is cheaper, flexible and fits the moment.

The contradiction

There is a tension at the centre of all this.

Faith encourages stillness.
Technology encourages engagement.

The same platforms that deliver sermons and worship are designed to keep users scrolling, watching and listening.

That tension is not going away.

The change is permanent

Easter itself has not changed, the meaning is the same. But the way Nigerians experience it is what has changed.

Looking at podcasts, playlists, livestreams and even data bundles, we see what Easter is.

It is mobile.
It is personalised.
It is monetised.

And most of all, it is measured in data, in streams, and in time spent on screen.

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 platform, designed specifically for the Nollywood industry, provides actors, crew members, directors, and other creatives with a structured, industry-standard format for showcasing their experience.

Developed with the realities of the Nigerian film ecosystem in mind, Nollywoodcv allows users to build clean, professional CVs that highlight their film credits, roles, training, skills, and achievements.

The digital tool is already being described as a major step forward in an industry where portfolios are often fragmented, inconsistent, or entirely absent.

More than just a CV builder, Nollywoodcv is positioning itself as a central hub for career growth within Nollywood.

The platform includes a dynamic talent directory where creatives can be discovered by producers and casting directors searching for skilled collaborators.

Job listings, including casting calls and crew positions, are curated and updated regularly, giving users access to real-time opportunities from within the industry.

In an effort to address the knowledge gap that often hinders young professionals, the platform is also developing a mentorship initiative.

Filmmakers will be able to access insights and guidance from seasoned practitioners, empowering them to navigate the business side of the industry with greater confidence.

Additionally, each week, Nollywoodcv will feature a selection of standout Nigerian films in a segment titled Movie Picks of the Week, spotlighting notable creative work and encouraging community learning.

The creators of Nollywoodcv emphasise that the platform was developed in collaboration with working filmmakers, ensuring its features reflect real industry needs.

With its simple, mobile-friendly interface, users can create and share their portfolios quickly—whether as downloadable PDFs or direct links, making them suitable for casting submissions, job applications, or festival entries.

Early reactions from the industry have been enthusiastic.

“This platform is long overdue,” said Michael Chineme Ike , an Abuja-based director. “For years we’ve relied on scattered links and verbal referrals. Nollywoodcv brings structure and credibility to how we present ourselves.”

As Nollywood continues to expand its reach into global markets and digital platforms, Nollywoodcv arrives at a crucial time.

The platform offers the clarity and organisation that local talents need to compete globally, while also improving access to domestic opportunities for rising professionals in less-visible regions.

Registration is currently open at www.nollywoodcv.com/signup , with the core features available at no cost.

Premium services, including career tools and extended mentorship access, are expected in subsequent updates.

With its official launch in Awka on the 27th of March 2025, Nollywoodcv represents a significant stride toward professionalising Nollywood’s workforce.

It provides not just a CV, but a centralised system for visibility, credibility, and career advancement in one of the world’s most dynamic film industries.

By embracing digital technologies, Nollywood stands poised to revolutionize the entertainment industry, harnessing the power of data, AI, and emerging platforms to reshape storytelling and audience engagement.

Jide Awe, CEO of Jidaw.com, emphasized the urgency for Nollywood stakeholders to embrace digital technologies during the fireside session of the Nollywood Economic Outlook 5.0 in Lagos. The Fireside Chat Session was hosted by talented Actress, Ijeoma Imo.

The Nollywood Economic Outlook, now in its fifth year, is a special economic session for creatives organised annually by The Nollywood Mandate (TNM).

His impassioned plea resonated with the industry, echoing the call to action: “Embrace innovation, invest in talent, and seize the boundless opportunities of the digital age.”

According to Awe,

“The allure of the silver screen meets the prowess of digital ingenuity, as Nollywood pioneers new horizons in filmmaking. With the advent of digital transformation, opportunities abound to enhance creativity, streamline processes, and captivate audiences on a global scale.”

He explained that amidst the promise of progress, challenges loom on the horizon as the journey towards digital transformation is riddled with obstacles, from infrastructure constraints to privacy concerns. Yet, through collective determination and strategic partnerships, Nollywood can surmount these challenges, leveraging digital solutions to unlock unprecedented growth and prosperity.

Toke Benson – Awoyinka, Commissioner, Tourism, Arts and Culture, Lagos State commended the organisers for sustaining the engagement in the creative sectors and promoting digital transformation to accelerate the growth of the creative industry.

Adebukola Agbaminoja, executive secretary/CEO, Lagos State Film and Video Censors Board, who represented the Commissioner, pledged that the state will continue to partner with The Nollywood Mandate in the area of innovation to drive policies.

Don Pedro Aganbi, convener of the high-octane event in his welcome address noted that collaboration, innovation and infusion of digital technology was indispensable in the quest to move Nollywood to the next level and ensure it continues to contribute to the nation’s economy.

Other speakers and panelists include; Professor Olawale Moronkola, Director General, National Institute for Sports, Victor Mark-Onyegbu, Head of Grants, Africa No Filter, Fidelix Duker, Founder, Abuja International Film Festival, Secretary, Board of Trustees, Actors Guild of Nigeria, Sunny Mcdon, National President, Association of Movie Producers, Queen Blessing Ebigieson, Gloria young, Olorogun Tony Akposheri, Chidi Nwakobia, Chief Abimbola Aboderin, Anita Edwards, Bukola Thomas, Susan Jimah, Best Okoduwa, Tony Ogbetere, Ifeanyi Ezekwe, Effiong Nyong, among others.

The event highlighted the importance of embracing global best practices, investing in talent and technology, promoting inclusivity, and fostering collaboration across the industry’s value chain. Speakers emphasized the industry’s potential to drive economic growth, job creation, and cultural diplomacy.

The Nollywood Economic Outlook 5.0 provided a roadmap for reshaping the industry, positioning it as a global cultural and economic force, and driving Nigeria’s economic transformation.

Daniel, with over forty Nollywood movies to his credit, said that both countries have a thriving film and media industry, with Nigeria having an upper hand, adding that collaborations will not only generate more revenue but it will also strengthen the relationship between the two countries.

Durotimi Daniel Aruwa, a filmmaker specializes in post-production, producing, and directing.

With almost 20 years of experience, he has worked on over forty cinema and local films production in Nigeria. Some of his Netflix productions include Crazy, Lovely, Cool (Series), and Brother Jekwu.

While analysing the inherent opportunities, the Thespian said, “Nigeria is currently one of the three major film producers in the world.

The other two are US and India. The Nigerian film industry is the biggest in Africa in terms of the numbers of films produced annually, revenue generated, and popularity.

“South Africa also produces high-quality television and film content. It has a thriving audio-visual, advertising, and corporate video sub-sector with a bourgeoning talent. Between 2019 and 2020, the industry contributed R7. 2-billion to the economy and sustained 31,444 jobs.

“South Africa has a lot of amazing locations for film production especially Durban, Cape Town, and Gauteng. The crew members are also very well trained.

“Also, Nollywood already has a growing audience in South Africa. Several South Africans watch Nollywood films and are very familiar with Nollywood stars. I remember a popular South African music star telling me how his mum watches Nigerian films almost every day. Several Nigerians who are Nollywood lovers also reside in South Africa. Therefore, the market is already there,” Daniel, who specialises in post-production, producing, and directing with almost 20 years of experience, said.

Continuing, the filmmaker said that South African music is getting a lot of recognition in Nigeria. “Almost all Nigerian A list artists have a song or two with the Amapiano feel. It’s high time Nigeria also had a feel of what South Africa has to offer in terms of films, movies, and storytelling.

“It might cost a little more to produce a film in South Africa as most crew members charge per hour, but the benefits outweigh the cost. So, whether it’s a cinema production or films for local television and online streaming, a collaboration between Nollywood and the South African movie industry is a goldmine waiting to be exploited. It will expose both countries’ cultures and help boost tourism,” he said.

The filmmaker will be shooting his debut film in South Africa in March 2022. The film will feature Nigerian and South African top stars.