Veteran Nollywood actor Francis Duru has sparked a debate about culture, solidarity and power in Nigeria’s film industry, arguing that Igbo individualism has allowed Yoruba filmmakers to build a stronger collective presence.
Duru made the argument while reflecting on the evolution of Nollywood and the changing influence of different cultural groups within the industry.
According to the actor, Yoruba filmmakers have been more effective at supporting one another, creating opportunities for their own and promoting their cultural identity.
He contrasted that approach with what he described as an individualistic tendency among some Igbos, which he believes has made it harder to build a lasting collective influence in Nollywood.
‘We Created Nollywood but Didn’t Consolidate It’
Duru acknowledged the contribution of Yoruba pioneers such as Herbert Ogunde to Nigeria’s early film tradition.
However, he argued that the modern Nollywood industry emerged largely from the home-video boom of the 1990s and early 2000s, when Igbo entrepreneurs and filmmakers played a major role in developing the commercial model.
His concern is that the group did not sufficiently consolidate that early advantage.
Duru pointed to the international streaming market as an example, arguing that films centred on Igbo history and heritage remain underrepresented on platforms such as Netflix.
By contrast, he said Yoruba filmmakers have been more deliberate about creating and promoting stories rooted in their culture.
‘Protect and Project Your Own’
Duru said the lesson he believes Igbos should learn is straightforward: cultural influence requires collective investment.
He argued that Yoruba communities have demonstrated a stronger willingness to support members of their own community and use that support to create opportunities.
“If you don’t protect and project your own, who will do it?” Duru said.
He believes the difference is not necessarily a question of talent, but of organisation and collective strategy.
Individual Success vs Collective Progress
According to Duru, an excessive focus on individual achievement can make it difficult to build institutions that benefit an entire community.
He described what he sees as a tendency for successful individuals to operate independently rather than investing in a broader cultural or creative ecosystem.
His message to younger Igbos was to look beyond individual success and identify emerging opportunities where collective investment could produce longer-term influence.
“There is a new market space; why am I not there?” he asked.
Traders Helped Build Nollywood
Duru also reflected on the commercial origins of the Nigerian home-video industry.
He noted that some of the people who helped establish Nollywood were traders and entrepreneurs, rather than traditional film-industry professionals.
In his account, these businesspeople recognised the commercial potential of home videos, assembled creative talent and invested in production and distribution.
Duru said this entrepreneurial model demonstrated how quickly an industry could grow when people recognised an opportunity and worked together to exploit it.
‘Don’t Get Angry With Them’
Despite his criticism, Duru urged Igbos not to resent Yoruba filmmakers for their success.
Instead, he encouraged them to study the strategies that have helped Yoruba creatives promote their people and cultural heritage.
His argument is that competition should produce learning rather than resentment.
He also pointed to the large number of successful Igbo professionals and entrepreneurs in Nigeria, questioning why that influence has not translated more strongly into film and cultural production.
Where Are the Igbo Historical Epics?
Duru’s concerns extend beyond contemporary entertainment.
He lamented what he sees as a shortage of major films celebrating prominent Igbo historical figures and personalities.
He questioned why the stories of influential Igbo figures have not been adapted into large-scale historical productions despite the availability of writers and creative talent.
The actor also criticised what he perceived as instances of Yoruba filmmakers adapting stories associated with Igbo culture, citing Ahamefuna as an example.
The Bigger Debate
Duru’s comments raise a broader question about who controls cultural storytelling in Nollywood—and how much collective organisation influences that power.
His central argument is not that Igbos lack talent or historical material. Rather, he believes they have failed to invest collectively enough in turning those resources into enduring films, businesses and cultural institutions.
Whether others agree with his assessment or not, the debate highlights an increasingly important reality in Nigerian entertainment: the communities that tell, finance and distribute their own stories have a greater say in how those stories are seen by the world.
