I remember and I will always remember when Netflix and Amazon Prime turned their gaze on Nigeria, the giant of Africa. At that time, their visions sparkled with promises and it was laden with aspirations and capital. We had no reason to doubt that they were ready to tap into the country’s pulsating heartbeat of stories.
Today, the retreat of these streaming titans signals a sobering confrontation with the complexities of Nigeria’s creative and economic landscape. Amazon Prime was the first to loosen its grip, quietly scaling back investments when expected riches failed to materialise. Netflix, too, has begun to tread more cautiously. Its recent soirée for filmmakers, actors, and industry players was a farewell to the era of lavish budgets.
Productions like ‘Anikulapo’ and ‘Jagunjagun’ had dazzled us, their Netflix-dollar-backed splendour showcasing the richness of Nigerian storytelling. Yet, as we awaited the adaptation of ‘The Secret Lives of Baba Segi’s Wives,’ optioned by Mo Abudu’s EbonyLife Studios, uncertainty crept in. Its fate, like so many dreams, remains shrouded.
The experiences of these streaming behemoths illuminate the intricate dance required to thrive in Nigeria’s dynamic but often challenging terrain. Our nation is a land of endless possibilities and narratives, but it is fraught with hurdles that demand resilience and reinvention. For those who venture here, the journey promises not just riches but lessons etched in the rhythms of its vibrant, unpredictable soul.
No doubt Nigeria has an enormous appetite for entertainment. However, several factors may have contributed to these platforms reassessing their strategies. First, Nigeria’s fluctuating economy, currency depreciation, and limited disposable income for many citizens may have affected subscription growth. Second, despite improvements, internet access and affordability remain significant barriers, especially for streaming high-quality video content. Third, they may have underestimated the need to align content offerings more closely with local tastes, traditions, and values.
From what we have learnt, Netflix and Amazon Prime are not exiting Nigeria entirely, but rather recalibrating their approaches, which may include focusing more on partnerships, localised content, and hybrid models.
Of recent, Netflix Originals such as Lateef Adedimeji’s ‘Lisabi’, Omoni Oboli’s series, ‘Last Year Single’, and Femi Adebayo’s series, ‘Seven Doors’, were restricted to only the Nigerian market.
Nigerians in the diaspora, who are regular consumers of contents from home, were shut out. They took to social media asking for reasons why those contents were deemed unfit for the global audience. No explanations were given by the platform.
Oboli, in an Instagram post, said she signed a global deal and was optimistic the series would go global soon, but time showed that her hope would not become reality.
In Adebayo’s case, he announced that from December 20, Nigerians in the diaspora would have access to the series through Circuits, a new virtual cinema solely dedicated to bringing African movies and series to global audiences.
When Circuits launched, it did with ‘Conversations in Transit’, ‘Seven Doors’, ‘Asiri Ade’, ‘Ruthless’, ‘Atiko’ and ‘Alagbede’.
Unlike Netflix and Amazon Prime, Circuits is not subscription-based. At least not yet. It is also not free like YouTube. To rent a movie, a viewer has to cough out about four dollars, a fraction of the cost of a movie ticket and they must finish watching it within 24 hours. For a series, it is a little over seven dollars and it must be seen within one week.
Circuits, according to its promoters, aims to empower African creatives by providing a global platform for authentic African storytelling, bringing premium entertainment to homes worldwide.
On the platform, you enjoy uninterrupted entertainment without advertisements. It is accessible worldwide, allowing users from various regions to enjoy African content on any device, anywhere, ensuring convenience for users. It also promises seamless streaming regardless of connection speed.
Of the movies it launched with, ‘Conversations in Transit’, ‘Asiri Ade’,‘Ruthless’, and ‘Atiko’ are original to it. ‘Alagbede’ has initially been shown in cinemas across Nigeria.
‘Conversations in Transit’ features an ensemble cast including Richard Mofe-Damijo, Rahama Sadau, Osas Ighodaro, and Tope Tedela. Set primarily aboard the Lagos-to-Ibadan train, the movie highlights the scenic beauty and efficiency of the railway service while weaving together the lives of its diverse characters.
The story unfolds as passengers board the train, each carrying their own emotional baggage. Richard Mofe-Damijo plays a professor determined to reconcile with his estranged young wife, who left him due to infidelity.
We also meet a troubled Hausa couple bound by an arranged marriage meant to preserve family wealth. However, the woman harbors a secret—she is in love with her fiancé’s best friend and is pregnant with his child.
Another subplot follows a wedding planner, played by Tana Adelana, whose faith in love is waning. She encounters a recently heartbroken man, portrayed by Tope Tedela, who makes it his mission to restore her belief in love.
Blending romance, drama, and cultural themes, ‘Conversations in Transit’ offers a rich narrative about love, loss, and redemption, all set against the backdrop of a journey that mirrors the characters’ emotional voyages.
The movie has many laugh-out-loud moments. The cinematography is topnotch. We see alluring images as the train moves from Lagos to Abeokuta and finally to Ibadan.
Circuits’ launch has raised the issue of its capacity to fill the void created by Amazon Prime’s and Netflix’s new direction in Nollywood. On its launch date, I tried three international cards to purchase ‘Conversations in Transit’. The first two failed, but the third allowed me the pass to bask in the beautiful flick Peters made.
I got an email from the Circuits team explaining the issue: “We recognise that some of you, particularly those outside Nigeria, are experiencing challenges making payments. Unfortunately, our global payment partner is experiencing an uncharacteristic downtime with their switch which will be resolved in a few minutes.
“We apologise for any inconvenience and we assure you that you will be back to enjoying our films very shortly.”
Its ownership hasn’t been made public, making it difficult to gauge the financial muscles of its backers and speculate on their ability to see through this onerous task of serving a market Amazon and Netflix are currently under-serving.
Chioma Onyenwe, its Vice President of Content at Circuits, promised that the platform would offer a cutting-edge distribution framework for both scripted and unscripted African content, offering filmmakers a worldwide stage while enabling audiences to enjoy fresh, high-quality African titles.
My final take: Nigeria needs more streaming platforms that have local taste but global reach. For this to work and work well, it must have the buy-in of Nigerians home and abroad and the way to get this support is to offer them quality they can’t resist.
