Every December in Nigeria feels like a movie set. The streets are busier, the music is louder, and the stars seem to shine a little brighter. But beyond the concerts, fashion shows, and Detty December chaos lies something that has quietly become one of the most exciting parts of the season… the December movie rush.
Filmmakers now treat the last stretch of the year like a festival. It is no longer just about jollof and jingle bells. It is about red carpets, box office battles, and streaming numbers that make producers smile all the way to the bank. The new December belongs to Nollywood.
The Tradition of Timing
In the last few years, Nigerian filmmakers have learned the art of patience. They no longer rush their biggest projects into random calendar slots. Instead, they wait for the golden window of December. It started slowly, but now it’s an open secret in the industry that if you want your film to trend, release it when everyone is ready to unwind.
Think back to Omo Ghetto: The Saga, which dominated cinemas through Christmas and New Year in 2020. Or Battle on Buka Street, Funke Akindele’s follow-up that became Nigeria’s highest-grossing film in 2022.
Then came A Tribe Called Judah in 2023, smashing every previous record. December is now Nollywood’s prime box office season, a period when the audience is emotionally soft, socially active, and very willing to spend on experiences.
It is more than coincidence. It is a well-calculated strategy that blends holiday leisure with cultural connection.
The 2024 Line-Up and the Buzz Building for 2025
This December isn’t just crowded with parties and concerts. It’s packed with screens begging to be filled. The lineup for the season reads like Nollywood’s boldest flex yet, with films designed to dominate conversations, trends, and ticket counters all at once.
At the top of the list is Funke Akindele’s “Behind The Scenes (BTS)”, her latest offering after the record-breaking A Tribe Called Judah. Set inside the chaotic world of a film production, BTS pulls back the curtain on the unsung heroes of Nollywood — the crew.
From the costumiers who sew till dawn to the camera operators who barely get credit, the film celebrates the invisible hands that keep the dream alive. It stars Uzor Arukwe, Scarlet Gomez, Dele Odule, Iyabo Ojo, Jide Kosoko, and Uche Montana among many others.
If Akindele’s track record tells us anything, it’s that she understands the pulse of her audience. BTS is expected to blend laughter, emotion, and industry realism in a way that makes it both entertaining and necessary. The premiere is already shaping up to be another December spectacle.
Then comes “Colours of Fire,” arguably the most visually ambitious Nigerian film of the year and the one gunning hardest for Christmas attention. Directed by Niyi Akinmolayan, it brings together an ensemble that includes Gabriel Afolayan, Osas Ighodaro, Mercy Aigbe, Uzor Arukwe, and Femi Branch. The story weaves through love, betrayal, and ambition, painting the kind of world where power and passion blur dangerously.
The cinematography teased in the trailer looks premium, the costume department is doing fashion-week-level work, and the emotional tone promises both spectacle and substance. This isn’t just another drama, it’s a cinematic event designed for big screens, big feelings, and big numbers.
On the lighter side, Toyin Abraham’s “Oversabi Aunty” is set to deliver the family-friendly laughs that round out every Detty December. The premise taps into that familiar Nigerian archetype of the loud, well-meaning but overbearing aunty who means well but stirs drama everywhere she goes.
With Toyin in full comic mode and Queen Nwokoye, Efe Irele, Lola Idije, Kidbaby, Ngozi Ezeonu, Emeka Okoye, Jemima Osunde and others starring, the film has crowd energy written all over it. Early teasers already trended for their relatability, and with Toyin’s knack for timing her releases perfectly around the holidays, Oversabi Aunty feels like the season’s guaranteed laughter break.
And then there’s “This Is Not a Nollywood Movie”, Wale Ojo’s upcoming satire that has quietly become one of the most anticipated curveballs of the year. The title itself is a wink to the audience, but behind the humour lies a layered story about authenticity, identity, and the pressure to live up to public perception. It’s part comedy, part commentary.
The movie is a bold experiment in self-awareness that takes jabs at Nollywood clichés while celebrating the industry’s evolution. Think of it as the meta film we didn’t know we needed.
Together, these four titles define the new December spirit asides any others that is yet to be unveiled. While the streaming crowd will still get their digital premieres from fan favourites like Ruth Kadiri and Uche Nancy, it’s the cinemas that are gearing up to be this year’s real battleground.
Every trailer, poster, and press release hints at the same thing. That this December, Nollywood isn’t just showing up, it’s taking over the holidays entirely.
The Money Behind the Magic
Every December release is more than a film. It’s a financial project. Producers time their launches around holiday bonuses, travel returns, and the festive mood that makes audiences more willing to spend.
Box office records tell the story clearly. A Tribe Called Judah earned over ₦1.4 billion, setting a new benchmark for the local industry. Battle on Buka Street held the crown before that, with over ₦668 million. Even Omo Ghetto: The Saga brought in more than ₦636 million during its run. The pattern clearly shows that December equals profit.
But it’s not just ticket sales. It’s brand partnerships, red carpet sponsorships, and celebrity collaborations that create a full entertainment ecosystem. A movie premiere in December now looks like a concert, with influencers, stylists, and social media crews turning each screening into content gold.
The Premieres as Events
Gone are the days when a premiere was a quiet industry affair. Now, December premieres are headline events.
Funke Akindele’s film launches have set new standards of themed dress codes, celebrity rollouts, live performances, and wall-to-wall media coverage. The A Tribe Called Judah premiere alone was a social media storm that trended for days.
Other filmmakers are catching on fast. Red carpets now double as influencer meetups. PR teams time hashtags to coincide with screenings. The goal is majorly to make every movie a moment. The glamour now sells the story almost as much as the script itself.
Streaming Wars and Digital Premieres
While cinemas enjoy the spotlight, streaming platforms are not sitting quietly. YouTube, in particular, has changed the rules. Producers like Ruth Kadiri, Bimbo Ademoye and Omoni Oboli among others have turned December into digital goldmines.
Movies like Love in Every Word, The Other Wife, and Unexpected have turned YouTube channels into full-fledged studios. The appeal is cleary the immediate access, global reach, and loyal fan bases that refresh views like clockwork.
Netflix also knows the drill. Every December, it updates its catalogue with new Nigerian titles, ensuring that even those who prefer a cozy night in still join the celebration.
Streaming has made Detty December inclusive. Everyone gets a seat, even from home.
Conclusion
From the look of things, it’s quite clear that Detty December has become Nollywood’s unofficial film festival. It is no longer just about just music or nightlife as it used to be. Back in the day, concerts and festivals topped the list of many out goers in December. This is no longer the case because filmmakers have made their audiences know that December is also about storytelling, star power, and cinema that connects deeply with the mood of the season.
December has always been the season of light, but for Nollywood, it’s now the season of legacy. The real fireworks are not in the sky. They’re on the screen.
Discussion about this post