Esther Salifu
Veteran Yoruba actor and filmmaker Kunle Afod has candidly addressed the challenges he faced after embracing online film distribution, revealing that his decision led to being blacklisted by traditional industry stakeholders.
In a recent interview on Oyinmomo TV, Afod discussed how his shift to digital platforms disrupted the conventional distribution model, causing friction with established marketers. He noted that his move to online channels was a response to the evolving media landscape, transitioning from CDs to DVDs and eventually to digital streaming.
“As the world evolved digitally, we also had to adapt and improve our involvement,” Afod explained.
“There was a time when we used CDs, and later we upgraded to DVDs. We, the actors, advised marketers to make the switch to DVDs too, because that was what the audience had moved on to at the time. Later, when online streaming platforms emerged, I personally warned the marketers that physical discs could soon go extinct due to these platforms. Unfortunately, they didn’t listen to me.”
Taking initiative, Afod launched his own online channel to upload and monetize his films directly. This move, however, reportedly led to his exclusion from certain productions. The Yoruba Video Film Producers/Marketers Association of Nigeria (YOVIFPMAN) placed an indefinite ban on Afod and fellow actor Yewande Adekoya, accusing them of bypassing traditional distribution channels and engaging in practices deemed detrimental to the association.
“Since they ignored my advice, I created my own online channel and started uploading my movies directly,” Afod stated. “When they realized I was earning revenue independently without going through marketers, they banned me from acting in their productions and instructed producers not to feature me in their films.”
Despite the backlash, Afod emphasized that venturing into online distribution granted him financial independence and creative control. As digital content gained popularity, more actors began to embrace the model, realizing the advantages of managing their own distribution channels.
“Thank God the online streaming space grew rapidly,” he added. “When they saw how fast my platform was growing, many other actors joined in. I was later invited to a meeting to discuss how to remedy the situation, but I told them I had already moved on. Now that people understand they can distribute their own films online and earn directly, everything has changed.”
Afod’s experience underscores the broader shift in Nollywood, where digital platforms like YouTube have become vital for filmmakers seeking autonomy and direct engagement with audiences. This transition reflects a growing trend of content creators leveraging online channels to distribute their work, challenging traditional gatekeepers in the industry.
