Nollywood is a populist industry by design. It thrives on mass appeal, churning out films built to connect with the widest possible audience. That’s why our screens are dominated by romance, drama, comedy, and increasingly, action. These genres work. They pull numbers and keep the machine running.
But that commercial focus means other types of stories get sidelined. What about sports films? Coming-of-age dramas? The quieter, more specific narratives that don’t promise instant box office gold but still deserve a shot?
We’re not asking for these films to flood the market every year. Just one or two would make a difference. There’s an audience for everything, even if those projects don’t pack theaters or dominate streaming charts the way a blockbuster romance does. Some stories are worth telling simply because they need to be told, and because there are many of us out there who’d love to see them adapt for a Nigerian context.
Post-apocalyptic films
What would happen if the world ended as we know it? We can’t say for sure, but that’s exactly why movies exist. Nollywood has never really explored a post-apocalyptic story set in Nigeria, and it would be fascinating to see one. Whether the collapse comes through plague, war, drought, or something else entirely, imagining the end of civilization through a Nigerian lens could offer a fresh perspective.
Post-apocalyptic films are often tied to heavy CGI, big sets, and high budgets, and Nollywood might not yet have the technical capacity to handle a full-scale post-apocalyptic production. But spectacle isn’t the only way to tell these stories. Character-driven narratives focused on survival, relationships, or psychological tension can be just as compelling. Minimal sets, practical effects, and a small cast can keep costs manageable while still delivering a gripping story.
Afro-futuristic films
Afrofuturism blends science fiction and fantasy with African culture and history. Think Kizazi Moto: Generation of Fire, the African sci-fi anthology series. If you’re familiar with Nnedi Okorafor’s work, you already have a sense of what this genre can look like.
To be fair, there isn’t a wealth of Afrofuturist cinema in general, so this isn’t a problem unique to Nigeria. Still, with our rich and varied cultures, the raw material is already there. With the right script, a solid budget, and an ambitious filmmaker, there’s no reason Nollywood can’t produce compelling Afrofuturist feature films.
There are already a few notable examples. Ratnik (2020) follows a soldier returning from World War III who must protect her home, while Disney+’s well received animated series Iwájú imagines a futuristic Lagos.
Coming-of-age films
Coming-of-age films are rare in Nollywood. They focus on growing pains, following younger characters as they navigate life and its hurdles. Nollywood has plenty of youth-centered stories, but few that truly qualify as coming-of-age.
Part of the reason may be that coming-of-age stories often have lower stakes, emotional rather than material. The conflict is internal. It’s about growth, self-discovery, and transformation. Nollywood, by contrast, usually favors high external stakes and visible conflict, likely because films that feel “slow” aren’t as exciting or hyped and may struggle to draw mass audiences.
That said, a coming-of-age film told from a Nigerian perspective would be a welcome addition. It could explore adolescence, identity, relationships, and the small but meaningful moments that shape who we become.
Historical films
Nollywood is no stranger to historical films, especially the lower-budget, straight-to-video titles. The problem is that many of them don’t prioritize historical accuracy and often feel anachronistic. What we’re talking about here are period films that actually capture the texture of the time they’re set in.
Too many historical films have vague timelines, dialogue and behavior that feel contemporary rather than period-specific, and an overall sensibility that feels modern, with the only difference being that the characters are dressed in period costumes.
Thankfully, big-budget productions tend to do a much better job. October 1, ’76, Amina, Elesin Oba: The King’s Horseman, and Aníkúlápó are strong examples, and they did well critically. Still, there’s room for more historical films, especially those that tackle the lives of real people and major events in Nigerian history.
We also don’t have enough films set in the 19th century and early 20th century, periods that could offer a clearer window into how people lived at the time. History is often dismissed as boring, but there’s no shortage of compelling stories, both fictional and non-fictional, waiting to be told.
Films about mental health
Mental health struggles are universal. People around the world face challenges like depression, PTSD, anxiety, and bipolar disorder—and Nigeria is no exception. Yet we rarely see these experiences reflected on screen. Think about the last time you saw a Nollywood character living with a mental health issue that genuinely shaped their life and interactions.
Some recent examples do exist. The critically successful film For Maria Ebun Pataki gives a powerful portrayal of postpartum depression, and Mo Abudu’s Her Perfect Life tackles depression and suicidal ideation. But films like these should be made more often—not just for storytelling, but to show that these experiences are real and can affect anyone. Portraying them responsibly can also help reduce stigma and spark meaningful conversations.
Musicals
Many people love a musical. When we want to watch one in Nigeria, we usually turn to foreign films from the US or UK, like Wicked, Wonka, or the classic The Sound of Music. Nollywood has tried musicals, evidenced in successful films like Ayinla, Obara M’, and Inale, but for an industry this prolific, they are extremely rare.
In most Nigerian films, music is still either diegetic—part of the scene—or non-diegetic, like a soundtrack or voiceover. A full-fledged musical, with songs in pidgin, local languages, and maybe English, could be a new way of storytelling. It could blend spectacle, emotion, and culture in ways that standard dramas or comedies rarely do.
Musicals are an underexplored genre in Nollywood, and they’re exactly the kind of bold experiment the industry could explore more often.
Murder mysteries
A classic whodunit, in the vein of an Agatha Christie novel, keeps the audience guessing and reminds us that anyone could be the culprit. Nollywood has dabbled in the genre, with films like October 1, which follows the hunt for a woman’s killer, and The Party (2025), a series that delivers a solid mystery. The CEO turns the concept into a corporate setting, where executives on a retreat are eliminated one by one, while Sanitation Day follows two police officers trying to uncover a killer in an apartment building.
A good murder mystery keeps viewers on the edge of their seats, constantly questioning who did it. Nollywood should explore more of these. There is space for stories that combine clever plotting, suspense, and strong characterization to create real tension and excitement. These are the kinds of films that challenge audiences, keep them guessing until the very last moment, and could enrich the industry’s storytelling range.
Sports films
Sports films are rare in Nollywood, even though they offer compelling stories of ambition, perseverance, and personal growth.
A few examples do exist. Funke (2018) follows a young girl who dreams of becoming a footballer. While it leans more toward family drama, it still counts as a sports story and was well received. White Waters (2007) tells the story of a young man with a talent for running who joins a track team, and it performed well with audiences. Onye Egwu follows a former football star whose career is cut short by injury as he mentors a talented young player chasing his dream; it received mixed reviews but highlights the potential for mentorship and redemption narratives in sports.
These films show that sports stories can work in Nollywood, but the genre is still vastly underexplored. Sports films naturally combine tension, drama, and personal stakes, and they could be a great way for the industry to tell stories of ambition, teamwork, and triumph.
Nollywood could benefit from more of these films that celebrate athleticism and the human spirit.
To conclude
Nollywood has proven it can tell stories that captivate audiences and pull in numbers, but there is so much more to explore. From the thrilling tension of murder mysteries and the spectacle of musicals, to the introspection of coming-of-age films, the excitement of sports stories, and the imagination of post-apocalyptic or Afrofuturist worlds, these genres offer fresh ways to engage viewers.
They don’t have to dominate the box office to matter; even a handful of well-told films could expand the industry’s creative range and reflect more of the experiences, histories, and dreams of Nigerian audiences. The possibilities are endless, and it’s time Nollywood dared to tell these stories more often.
