The Numbers of Subscribers of Netflix in Nigeria and in South Africa and the Way Forward is Content Localization

The Numbers of Subscribers of Netflix in Nigeria and in South Africa and the Way Forward is Content Localization for Nigerians

Currently the numbers of Nigerian subscribers on Netflix are only  169,600+ out of a population of 106 million bankable adults. 

South Africa has by far the most paid subscribers on Netflix with 1,172,800 subscriptions, accounting for 73.3 percent of the 1.6 million subscribers in sub-Saharan Africa.

South Africa has 69.5 percent of the $135 million subscription revenue from the region in 2022. Netflix made $93.82 million from South Africa alone.

What are the challenges of Netflix in Nigeria?

What are the solutions?

I have written on the challenges and solutions in my previous articles in 2022 and 2023.

Showmax of the MultiChoice Group, the biggest and largest entertainment company in Africa has overtaken Netflix on the continent. I prefer to call the MultiChoice, the King Kong of African Entertainment Industry.

The MultiChoice Group and Comcast’s NBCUniversal Media are investing more than US$177 million into Showmax

The strategic partnerships with Comcast and HBO and the access to the biggest football leagues in the world have increased the international milage and patronage of Showmax in Africa and beyond.

Nigeria with the largest population in Africa actually has the largest viewers of content online on the continent.

There were 103.0 million internet users in Nigeria in January 2024. Nigeria's internet penetration rate stood at 45.5 percent of the total population at the start of 2024. Kepios analysis indicates that internet users in Nigeria increased by 2.2 million (+2.2 percent) between January 2023 and January 2024

Majority of them watch Nollywood videos on YouTube spending millions of dollars monthly on data.

Read the following reports:

Streaming swells monthly internet spend to N216bn - Businessday NG-

MTN Nigeria’s data revenues have risen from N102.99 billion in the six months ending June 2019 to N349.51 billion in the three months ending March 2024. Airtel Nigeria’s data revenues have grown from N28.81 billion ($80 million at N360.06/$) as of the three months ended June 2019 to N151.15 billion ($116 million at N1,303/$) as of the quarter ended March 2024. Average data usage per customer has grown from 1.63GB to 6.3 GB per month on Airtel. MTN’s average data usage per customer rose to 8.6GB as of the end of Q1, 2024.

Amid penetration surge, Nigerians spend over N500b on data in Q1 | The Guardian Nigeria News - Nigeria and World News — Technology — The Guardian -

In 2023, MTN alone raked in N1.07 trillion from data subscriptions, representing a 39.8 per cent growth from N764.82 billion in 2022. Similarly, active data users on the network of MTN jumped by 12.7 per cent to 70.66 million in 2023, rising by over five million.

Facts and Figures

There are more than 20 million people in Nigeria who can afford the monthly subscriptions for Netflix. But Netflix has to CONNECT with them in their most spoken languages by doing the following:

1. Content localization which MultiChoice has used to attract millions of more subscribers in Nigeria.

There should be Netflix Yoruba;

Netflix Igbo and Netflix Hausa

These are the biggest and largest tribes in Nigeria with more than 150 million people in Nigeria and over 20 million in other countries.

There are different types of content localization.

2.?

How the Numbers of Subscribers of Netflix in Nigeria Can Increase To Over 1 Million Before 2025

It has been done before by a multinational company in Nigeria. And the same method will attract thousands of new subscribers to Netflix.

The fact is millions of people in Nigeria spend 100 percent more on paying for data to watch videos on YouTube monthly than what subscribers to Netflix pay monthly in the country.

My younger sister buys 25GB of data on the MTN network monthly to watch videos on YouTube paying N500 for 2GB.

She is one of the millions of people in Nigeria watching movies daily on YouTube.

She is addicted to Nollywood and Hollywood movies; watching more than four movies daily in-between her duties in the house. And she also reads novels and her King James Version of the Holy Bible. 

Her neighbor on the third floor spends more than my sister watching movies on DStv channels of the MultiChoice Group in Nigeria.

Netflix can consult me for how to overtake Showmax before the new year.

I am an expert on what I have proposed to Netflix.

I was commissioned by the John's Hopkins University's Population Communication Services (JHU/ PCS) to produce fully illustrated booklets on family planning methods in Pidgin English, Igbo,Hausa and Yoruba for Nigeria in 1984 and updated in 1990. 

Therefore, I am an expert in content localization in Nigeria since when I was 21 to date.

I have also done field trips on demographics of the population of Nigeria.

- By Ekenyerengozi Michael Chima

Publisher/Editor,
NOLLYWOOD MIRROR® Series
The first book series on Nollywood and the Nigerian film industry since 2013.
Affiliate Partner,
Cinewav of Singapore
https://www.amazon.com/author/ekenyerengozimichaelchima
https://www.linkedin.com/in/michaelchimaeyerengozi

Have you seen Nancy Isime, the Sexiest Woman in Nollywood in "UNFORGIVABLE"?

The most daring Nigerian movie on love and rape.

Sex, Netflix and Showmax

Sex, Netflix and Showmax 💕💋💥

Every Nigerian man who can afford to buy condoms monthly can afford paying for Netflix and Showmax

I have done marketing family planning methods, including selling condoms for two years when I did on the spot market surveys of all the major markets in Lagos State, including the Mile 12 market on the mainland.

Do you know that majority of Nigerian men spend more than N20, 000 monthly on condoms? 

I mean each one spends more than N20, 000 on condoms monthly.

How much is the monthly subscriptions for Netflix and Showmax in Nigeria?

Oh! I forgot, Nigerian men need more sex than watching Netflix or Showmax? 

Seriously?

Wrong.

Nigerian men watch more TV than having sex.

How many hours do they spend on sex every day?

Of course, majority of us spend more hours watching movies and series than having sex weekly.

Netflix, Showmax and Amazon Prime Video can have more than 40 million subscribers in Nigeria by 2025 if they use social marketing strategies for their advertising and marketing campaigns. 

Static billboards and banners on the streets are not the best methods of advertising in Nigeria. And using celebrities have failed in several cases for the promotion of movies at the box office. 

Several movies featuring Nollywood stars with millions of followers on Instagram have bombed. 

Netflix acquired a movie by a popular celebrity with over 50 million followers on Instagram, but I doubt if even 100, 000 of her followers subscribed to Netflix to watch her movie.

If you can sell condoms, then you can sell subscriptions for Netflix and Showmax.

#sex #Netflix #Showmax #movies #series #condoms #Instagram #boxoffice #celebrities #subscriptions #subscribers #advertising #marketing #socialmarketing #followers #billboards #Nollywood #Nigeria #Lagos #surveys #communication #education #banners #information #family #planning #promotion #campaigns #Nigerianmen #men #women

- By Ekenyerengozi Michael Chima,

Publisher/Editor,

NOLLYWOOD MIRROR® Series

Hollywood Film Distributor, Vision Films Inc Refuses To Pay Commission on "Eagle Wings" To Nigerian Agent

Hollywood Film Distributor, Vision Films Inc Refuses To Pay Commission on "Eagle Wings" To Nigerian Agent

Lise Romanoff, the Managing Director and CEO of Vision Films Inc, California, USA is presently in dispute with Ekenyerengozi Michael Chima, an international agent for film and TV acquisition and distribution over her refusal to pay him the finder's fees and commission on the multiple award winning, Nigerian war film, "Eagle Wings" she acquired through him in 2022.

"She acquired the film after I pitched the film to her for acquisition."

Michael Chima, who is the Publisher and Editor of the NOLLYWOOD MIRROR® Series, a publication on Nollywood and the Nigerian film industry said that Lise Romanoff threatened to terminate the global distribution contract with the filmmaker, Paul Apel Papel if he insisted on requesting for his finder's fee and commission for the film widely  distributed on VODs and cable TV channels. 

The "Eagle Wings" on the war on the Boko Haram and ISWAP terrorists in northern Nigeria has been showing on M-NET cable TV channels on DStv and streaming on Showmax of the MultiChoice Group, Africa's biggest multimedia entertainment company.

Lise Romanoff said there was no  agreement between Vision Films and Michael Chima. But he dismissed her statement.

"If she did not have any agreement with me, then why did she send me the contract agreement before it was signed by the filmmaker, Paul Apel Papel in the first quarter of 2022 and later sent me the updates on the global distribution of the film she acquired through me? And Vision Films sent me the latest update by email yesterday."

All discussions and transactions between Lise Romanoff and Michael Chima have been by emails without any formal contracts; from the theatrical release of "The American King" in Nigeria by the Silverbird Film Distribution through the recommendation of Michael Chima and she paid him for the publicity and also paid him commission on the box office revenue in July, 2022. She also paid him a minimum guarantee for recommending her to Wiflix, a VOD streaming service based in the Netherlands that is currently streaming several movies distributed by Vision Films Inc.

Therefore, Michael Chima has insisted that his finder's fee and commission on the global distribution of the "Eagle Wings" must be paid as Vision Films paid him for getting them the theatrical release of "The American King" in Nigeria and acquisition of the  rights for the streaming of a catalog of their content by Wiflix. 

Lise Romanoff, the Managing Director and CEO of Vision Films Inc,  California, United States of America, is a member of The Independent Film & Television Alliance (IFTA).

High Cost of Data is Still a Big Challenge for Netflix, Amazon Prime Video and other Streaming Services in Africa

High Cost of Data is Still a Big Challenge for Netflix, Amazon Prime Video and other Streaming Services in Africa

The cost of 1GB of data, enough for one hour of video streaming, is between $1.50 and $30 in Africa.

Subscribers spend more on data than subscription fees for Netflix and Amazon Prime Video on the continent. Showmax of the MultiChoice Group is Available to all the millions of subscribers to DStv, but majority of the populations in African countries cannot afford DStv. 

The cost of data can be reduced by all the telecoms in Africa with fast internet connection. 10GB should not cost more than $1 which is between N500 and N750 in the current exchange rate of the USD to the Naira in Nigeria, the largest market on the continent. 

My suggestion is Netflix and Amazon Prime Video should also be available offline on cable TV channels to attract everyone who can afford to pay the subscription to the cable TV channels for only $2 monthly.

What matters most in entertainment are four things I call QAAA:

1. Quality of the content

2. Availability of the content

3. Accessibility to the content

4. Affordability of the content.

The content must be of good Quality; Available, Accessible and Affordable.

- By Ekenyerengozi Michael Chima,
Publisher/Editor,
NOLLYWOOD MIRROR® Series,
International content development and marketing consultant.
@Vuulr Program Partner
@Cinewav Affiliate Partner

#1 On Top 20 Movies for the Valentine

 Available on https://wi-flix.com/

Multichoice Delivers Steady Margins Despite Content Cost Normalisation

 

PRESS RELEASE

Multichoice Delivers Steady Margins Despite Content Cost Normalisation

The group’s linear pay-TV subscriber base (measured on a 90-day active basis) increased by 0.9m to reach 21.8m households

Access Multimedia Content

JOHANNESBURG, South Africa, June 9, 2022/ -- MultiChoice Group (MCG, or the group) (www.MultiChoice.com), Africa’s leading entertainment company, delivered steady margins for the year ended 31 March 2022 (FY22). Download document (1): https://bit.ly/3Q6YBpP “Reduced losses in the Rest of Africa (RoA), a rebound in advertising revenues and a continued focus on cost containment enabled us to absorb the R1.1bn impact of a normalisation in content costs as live sport returned and we resumed our local content production post the COVID-19 lockdowns,” says Calvo Mawela, Chief Executive Officer. “We continued to enhance our video entertainment offering and expanded the variety of services offered to our customers as we grow our entertainment ecosystem,” he added. The group’s linear pay-TV subscriber base (measured on a 90-day active basis) increased by 0.9m to reach 21.8m households, comprising 9m in South Africa and 12.8m in the RoA. The 5% growth year-on-year (YoY) is subdued due to the tough economic environment and elevated subscriber growth during  COVID-19 related lockdowns in the previous year. Here are a few highlights: Revenue: ZAR55.1bn up 3% (up 7% organic) Trading profit: stable at R10.3bn (up 1% organic, due to absorbing cost normalisation) Core headline earnings: R3.5bn (up 6% as Forex impact was less negative)) Free cash flow: R5.5bn (down 3%, due to one-off prepayments) Dividend: R2.5bn 565 ZARc per share (±4% yield) MCG continued to pursue its differentiation strategy through local content, stepping up its local content production by 32% YoY to 6 028 hours and bringing its local content library close to 70 000 hours. Local content accounted for 47% of total general entertainment content spend and the group remains on track to achieve a target of 50% by 2024. Seven major new channels launched, including two Portuguese-focused channels in Angola and Mozambique. In South Africa, the group’s co-productions such as Reyka and Recipes for Love and Murder were broadcast to critical acclaim and international interest. SuperSport delivered world class productions given a bumper calendar of major sporting events. A record number of viewers tuned into Euro 2020, the British and Irish Lions rugby tour and the Tokyo Olympics. SuperPicks, a free-to-play predictor game and the group’s first product collaboration with KingMakers, was launched in Nigeria in August 2021 and already has 0.5m registered users. SuperSport Schools, now 100% owned by the group, continues to grow rapidly and broadcasted 5 249 live games of schools sport during FY22. Growth in Connected Video users on the DStv app and Showmax service is outpacing the market. Paying Showmax subscribers were up 68% YoY, whilst overall monthly online users of the group’s connected video services increased 28% YoY. A major driver has been the focus to localise by expanding local payment channels and enabling local billing in various markets. In addition, local content was stronger than ever with titles like DevilsDorp, the Real Housewives franchise and The Wife. Showmax Pro delivered an enhanced customer experience, which included the Tokyo Olympics, Euro 2020 and every English Premier League game.   On the product side, the announcement of DStv as official launch partner of Disney+ in South Africa is a further extension of the group’s aggregation strategy, which aims to bring customers more content, and convenient access in one central place via DStv’s connected devices. DStv Internet, which was launched in September 2021, is growing strongly. The DStv Rewards program, which supports customer retention and has been successful in reducing dormancy, continues to gain traction with close to a million customers. Digital adoption continues to track well with around 75% of customer touch-points now being managed through the group’s self-service channels. Due to the ongoing global silicon chip shortage the DStv Streama launch has been delayed and is now expected to launch in the first half of the next financial year. SEGMENTAL REVIEW South Africa The South African business faced an increasingly difficult consumer climate, with FY22 growth rates impacted by rising unemployment levels, intermittent loadshedding and a disruption caused by the July riots in Durban and Johannesburg. Revenue increased 4% to ZAR35.6bn, supported by the rebound in advertising revenue and a 1% increase in subscription revenues, driven by subscriber growth in the mass market and the uplift from annual price increases. The return of live sport and other value adding initiatives contributed to reducing churn in the Premium base relative to the prior year. Trading profit declined 1% to ZAR11.0bn as the ongoing cost-optimisation programme only partially offset consumer pressure in the middle market and the normalisation of content costs and sales and marketing expenses. Rest of Africa (RoA) The Rest of Africa business benefited from the popularity of local content such as Big Brother Naija and live sporting events. Whilst revenue of ZAR17.9bn reflects a strong 14% organic increase, it is only 4% higher than the prior year due to the impact of translating Rest of Africa’s USD revenues at a stronger ZAR for reporting purposes. Trading losses amounted to ZAR1.2bn, which is a 24% improvement YoY on an organic basis. Local currencies held up better against the USD than prior years, resulting in an overall headwind on reported results of only ZAR0.1bn (FY21: ZAR1.2bn). Although liquidity challenges continued in Nigeria, the group successfully repatriated cash throughout the year, albeit at a premium to the official exchange rate. Technology segment Irdeto, was impacted by global silicon shortages affecting supply chains, as well as COVID-19 related disruptions in large markets such as India. Revenues of ZAR1.5bn, down 17% YoY (9% organic), were further depressed by the impact of a stronger ZAR upon translation from USD. The segment contributed ZAR0.5bn to group trading profit with margins strong at 33%. Irdeto gained additional market share in its core media security business by winning four new Tier-1 customer. It also grew its device security business, expanded its deployment of connected vehicles with Hyundai, and started new projects like providing security software to large logistics companies.  KingMakers On 29 October 2021, the group increased its shareholding in KingMakers from 20% to 49.23%. KingMakers delivered USD136m (ZAR2.0bn) in revenues, representing robust growth of 74% YoY. It recorded a loss after tax amounting to USD19m (ZAR0.3bn) as increased revenues were offset by investment in people, product and technology to further scale the business. Although revenues are still primarily generated in Nigeria, the group is now also active in Kenya, Ghana and Ethiopia. Future Prospects In the year ahead, the group will continue to drive penetration of its video entertainment services across the African continent by offering customers an array of unique and rich media content delivered in a convenient and cost effective way. Local content and select sporting events such as the English Premier league, UEFA Champions League and the 2022 FIFA World Cup will contribute to the growth in linear and streaming services. Returning the Rest of Africa business to profitability in FY23, maintaining strong cash flows to support a healthy balance sheet and pursuing innovative products and services remain key pillars for long term value creation. “As a platform of choice, our group will look to further expand our entertainment ecosystem by identifying growth opportunities that leverage our scale and local capabilities,” says Mawela. “We will continue to strive to be a trusted partner for our customers’ ever-evolving needs, enriching their lives by delivering entertainment and relevant consumer services underpinned by technology.”  Distributed by APO Group on behalf of MultiChoice Group.   MultiChoice Group Contact Details: Elizabeth Fourie, Senior Manager: Corporate Communications Tel: +27 11 289 4735 Mobile: +27 83 482 5241 Elizabeth.Fourie@multichoice.co.za Meloy Horn, Head of Investor Relations Mobile: +27 82 772 7123 meloy.horn@multichoice.com About MultiChoice Group: MultiChoice Group (MCG), which listed in the Main Board of the JSE on 27 February 2019, is one of the fastest-growing video entertainment providers globally, delivering entertainment products and services to 21.8m households across 50 countries on the African continent. Its track record of more than 30 years is reflective of a commitment to provide audiences with only the best local, sport and international content. MCG’s strong partnerships with distributors, installers and telecommunication companies, along with its well-established payment solutions, competitive pricing and choice of viewership packages continue to secure its place in the global market, while also providing solutions unique to the African market. Its direct-to-home (DTH), digital terrestrial television (DTT) and over-the-top (OTT) solutions enable the business to stay relevant and aligned to changing consumer habits while capturing new markets. Content is at the very core of the business. MCG aims to deliver quality content anywhere, anytime and on any device through a comprehensive video entertainment offering at different price points. As pioneers in African video entertainment, MCG plays an important role in making information and entertainment easily accessible to Africans. MCG aims to secure content rights in a manner that is cost-effective and reflective of the diversity of its audiences. Its substantial portfolio includes award-winning local content (a key differentiator in its service offering), a leading sport offering (including production capabilities) and access to international content, which is all shared on the group’s platforms: DStv, GOtv, Showmax, M-Net and SuperSport. MCG has superior technology capability through the security solutions that Irdeto, its technology company, brings to the group. These solutions enable MultiChoice to protect its investment, create new offerings and combat cybercrime. With 50 years’ expertise in software security, Irdeto’s software security solutions and cyber services protect over 5bn devices and applications for some of the world’s best brands. SOURCE MultiChoice Group

Giving Africa a Creative Voice in the Digital Era

 MultiChoice Group

OPINION PIECE

Giving Africa a Creative Voice in the Digital Era (By Georginah Machiridza)

A modern media company would likely use a combination of broadcast media, social media, written content, video clips, as well as animation and physical activations to share content and market their brand.

JOHANNESBURG, South Africa, May 25, 2022/ -- By Georginah Machiridza, Executive Head Content Strategy and 3rd Party Channels, MultiChoice Group (www.MultiChoice.com)

It’s crucial that the content, art and creative output of Africa’s content creators remains authentically African, even while we embrace the opportunities of the digital era, writes Georginah Machiridza, Executive Head Content Strategy and 3rd Party Channels, MultiChoice Group.

We’re all aware of how rapidly the media landscape is changing. Audiences have been migrating to digital and online channels for more than a decade, and even established media such as broadcast, film, and radio are using hybrid platforms that reach audiences across multiple channels.

A modern media company would likely use a combination of broadcast media, social media, written content, video clips, as well as animation and physical activations to share content and market their brand.

Digital skills

This constantly evolving media terrain requires a diverse range of skills. Storytelling lies at the heart of most media messaging, but specific technical knowledge is required to translate compelling stories for every channel.

Writing, cinematography, video editing, TV, radio and online presenting, animation, coding and content management are just some of the specialised skills of the modern media landscape – many of which are evolving in real time as their respective media fields develop.

Africa is at the coalface of these developments. New media provides enormous opportunities to reach more of our people, with more compelling content, and to do it more efficiently and cost-effectively.

African authenticity

The challenge, though, is that we must continue to tell African stories, even while many technology innovations and Big Tech companies originate outside Africa. Digital media evolution comes with a very real threat of cultural imperialism.

The solution to avoiding this Western cultural hegemony is twofold. Firstly, we must empower African content creators with the skills to tell African stories. Secondly, we must create viable, profitable markets for African content, and grow demand for that content.

Fortunately, Africa has long been a hub of creativity and innovation. We have “found our voice” in the digital economy, and there are many creators telling African stories for African, as well as global audiences.

These include people like Kenyan comedienne Elsa Majimbo, Ghanaian internet personality Wode Maya, Ghanaian visual artist Prince Gyasi, Kenyan journalist Brian Otieno, South African illustrator and artist Slaying Goliath, SA comic Donovan Goliath and others. These innovators are  “Expressing Africa” through compelling content using digital and social-media platforms.

African media platforms such as DStv and Showmax are also enabling this trend, creating platforms across the continent tailor-made to showcase African stories for audiences hungry for stories about themselves and their culture.

In 2018, M-Net and MultiChoice spent R2,5bn developing local movies and series and bringing them to screens across Africa.

By investing in original productions of authentic stories and talent across the continent, M-Net is helping to launch acting, writing and filmmaking careers, both locally and internationally.

Hyperlocal platforms

In Ethiopia, MultiChoice channel Abol TV provides premium 100% Ethiopian general entertainment 24 hours a day. In Uganda, Pearl Magic provides a similar offering, telling stories by Ugandans for Ugandans. In Nigeria, Africa Magic provides channels in Igbo, Yoruba and Hausa. Customised hyperlocal MultiChoice offerings are also available in Ghana, Angola, Mozambique and Kenya and 3rd party channel launching in Zimbabwe recently.

The group reaches a total of 50 African countries. The Showmax streaming service has also emerged as a powerful platform for African content, through its movie and series offerings. Its Colours Of Africa series of homegrown African short films by MultiChoice Talent Factory (MTF) students celebrates African culture and the effects of modernisation on some cultural practices.

Skills pipeline

All of these emerging platforms – whether broadcast, streaming or digital – have created enormous opportunities for African media workers and content creators. Creating the skills that enable young creatives to grasp these opportunities is the other way Africa will find its voice in the digital era.

Helping to provide this, by building a pipeline of skilled African content professionals is the MultiChoice Talent Factory.

MTF plays a critical role in building and strengthening the TV & film industry across Africa, and was born out of a need to solve for representation, local content, and higher production quality and value. MTF is a shared-value platform and strives to be Africa’s leading training ground for content creators, by providing an enhanced training programme through partnering with local and global experts. The initiative takes a multi-tiered approach, incorporating the MTF Portal, the MTF Academies and MTF Industry Masterclasses.

Every year, the MTF academies select 74 talented African individuals to participate in a 12-month academic and practical immersion programme including both theory and hands-on experience in cinematography, editing, audio production and storytelling to name a few.

The year-long, fully sponsored programme is offered through regional MTF academies in Kenya, Nigeria, Zambia and South Africa, in partnership with local tertiary education institutions. Students and interns learn filmmaking by making films – developing their film and TV production skills alongside industry greats.

In addition, MTF Masterclasses give working film and television professionals and those who aspire to be content creators exclusive access to practical, industry expert-led skills workshops, where they interact and learn from the best in Africa and the world. The online portal has more than 40 000 registered users who have access to a growing library of masterclass content.

The MTF Masterclasses, the Academies and the MTF Portal (a profiling and networking platform) – support MultiChoice’s commitment to enhancing accessibility, opportunity, and quality in local productions.

These initiatives are all part of Africa’s cultural and technological resurgence, creating opportunities and building capacity, allowing Africa’s creative output to stand proud on the world stage.

Distributed by APO Group on behalf of MultiChoice Group.

SOURCE

MultiChoice Group

Netflix Needs More Nigerian Content To Attract More Nigerians

#nigeria #banks #network #movies #tvseries #entertainment #Nollywood

#subscriptions #millennials #acquisition #amazon #africa

Netflix Needs More Nigerian Content To Attract More Nigerians

Some of the best Nigerian movies and TV series are not on #Netflix.
They are on DStv, iROKOtv, StarTimes and on other OTT platforms run by two leading Nigerian banks and one multinational GSM network.

I watch more than 20 Nigerian movies and five different series weekly on DStv and many trailers of new Nigerian movies every day released on Showmax and iROKOtv.

Netflix needs to comprehend the demographics of the population of Nigerian lower and upper Middle Class and Upper Class, who are the largest subscribers of cable TV channels and they are from the largest dominant tribes of Igbo, Yoruba and Hausa Fulani. You have to show them movies and series they can relate with.

Netflix should balance the equation for the acquisition of Nigerian movies and series. Check out the #content on REDTV of UBA,  NdaniTV of GTBank and airtel TV of Nigeria. They have more exciting Nigerian movies and series with hundreds of thousands of subscribers.
Increase your Nigerian content and  your Nigerian subscribers will increase with more new movies and series by new outstanding Nigerian producers preferred by the Nigerian millennials who are from the Middle Class and Upper Class of Nigeria whose population is over 35 million.

- By Ekenyerengozi Michael Chima,
Publisher/Editor,
NOLLYWOOD MIRROR® Series,

247 Nigeria (@247nigeria) / Twitter

https://mobile.twitter.com/247nigeria

https://www.amazon.com/author/ekenyerengozimichaelchima

https://www.linkedin.com/in/michaelchimaeyerengozi

Netflix is Improving the Quality of Nollywood To World Class Standards

Netflix is Improving the Quality of Nollywood To World Class Standards

#Netflix is actually helping #Nollywood to improve the quality of film and TV productions in the Nigerian film industry.

But MultiChoice is still accepting substandard movies from #Nollywood for the Africa Magic. They come cheap for as low as US$1200 per movie.

The producers say being seen on #DStv is an achievement and Netflix is their ultimate dream. Making it to Netflix is like winning an #Oscar to Nollywood filmmakers.

Netflix should only accept Nollywoood or #Kannywood movies with Dolby Atmos or DTS:X, because it would boost the quality of the sound in the film and TV productions. 

Your sound begins from writing the screenplay: from the first draft and not the copy and paste soundtracks during the post production which is the common practice in Nollywood.

Using Dolby Vision is not rocket science. 

If Nollywood wants to improve on the quality of productions to qualify for the official selections of top international film festivals and nominations for the Academy Awards, Nigerian filmmakers have to use the same benchmarks for international productions as their counterparts and peers in the leading film Industries in the world.

And I am still waiting for the first Nigerian movie with Dolby Vision.

- By Ekeyerengozi MichaeI Chima,

Publisher/Editor,

NOLLYWOOD MIRROR®Series,

@247nigeria Twitter

Nollywood is Not Hollywood

#movietheaters

#cinema

#movies

#moviegoers

#Hollywood

@theacademy

@amctheatres

Having a cinema is one thing; attracting moviegoers to the cinema is another thing.

- Ekenyerengozi Michael Chima

Nigerian film distributors and exhibitors banking on the followers of the A-List actors on Instagram and Facebook has not attracted majority of them.to the movies they featured in. Because, many the actors buy followers, views and likes and majority of the  followers are not going to the cinemas to spend N4000 to watch a movie that they can watch later on #Netflix with a subscription that is not up to N3000 monthly, including hundreds of other movies and series.

70% of the #Nollywood movies playing in the cinemas in Nigeria are actually teleplays without cinematic quality. 

Dramatic scenes are often mistaken for cinematic scenes in Nollywood. And actors having a  shouting match in a scene is not an #Oscar performance, but may be good enough for an #emmy . Nollywood is not Hollywood.🤩

Frankly speaking, Nollywood movies are best viewed on @netflix, @showmaxonline and cable TV channels.

- Ekenyerengozi Michael Chima.

Africa Pay TV Forecasts Report 2020 Featuring Airtel, Amazon, Canal Plus Afrique, DStv, Globacom, GOtv, MTN, Netflix, Showmax,

Africa Pay TV Forecasts Report 2020 Featuring Airtel, Amazon, Canal Plus Afrique, DStv, Globacom, GOtv, MTN, Netflix, Showmax, StarSat, Tigo & Vodafone

Nearly 17 million pay TV subscribers will be added in Africa between 2020 and 2026 to take the total to 51 million. Nigeria will be close to 11 million, with South Africa bringing in another 9 million.
https://www.prnewswire.com/news-releases/africa-pay-tv-forecasts-report-2020-featuring-airtel-amazon-canal-plus-afrique-dstv-globacom-gotv-mtn-netflix-showmax-starsat-tigo--vodafone-301209252.htm