Hollywood has long mastered the art of crossovers, blending beloved franchises and characters into a single film, generating hype, and reaping box office returns. From Abbott and Costello Meet Frankenstein, to Freddy vs. Jason, Alien vs. Predator, and Avengers: Endgame, these films have demonstrated the power of crossover events to captivate audiences and drive revenue.
While Nollywood has yet to explore this territory fully, experts and fans suggest that collaborative franchises could be the key to revitalising the industry and boosting revenues. The Nigerian film industry has experienced a boom in recent years, with filmmakers like Kunle Afolayan, Kemi Adetiba, Mo Abudu, Funke Akindele, Niyi Akinmolayan, Jade Osiberu, Kayode Kasum, Toyin Abraham, Bolanle Austen-Peters delivering record-breaking hits.
However, the hype surrounding these individual projects often pales in comparison to that in Hollywood, where movie franchises are known for their collaborative franchises and crossovers. Experts believe Nollywood could tap into a new hype era if established franchises collaborate.
Imagine a cinematic universe where Funke Akindele’s billion-naira movie A Tribe Called Judah meets Jade Osiberu’s Gang of Lagos and Kemi Adetiba’s King of Boys in a single film. The combined hype from these three franchises alone could generate massive revenue and viewership, similar to Hollywood’s success with crossovers.
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For instance, Freddy vs. Jason (2003) was a box office success, grossing over $116 million worldwide and surpassing its $25 million production budget. Its success revitalized the Nightmare on Elm Street and Friday the 13th franchises, which had seen diminishing returns in their later sequels. Freddy vs. Jason proved the potential of horror crossovers, paving the way for future collaborations like Alien vs. Predator.
Similarly, Avengers: Endgame became the highest-grossing superhero movie ever, raking in $2.8 billion worldwide by bringing together heroes from different movies and series within the Marvel Cinematic Universe.
Nollywood filmmakers already boast dedicated fan bases that support their unique styles and stories. The average revenue from a top-grossing Nollywood film ranges between N100 million and N250 million, but a collaborative project could potentially double or even triple that amount.
Eniola Tito Abumere, a professional photographer and YouTuber, highlighted an instance of a Nollywood crossover where Richard Mofe Damijo’s character on the TV series Castle and Castle appeared in Mo Adudu’s film Chief Daddy.
The YouTuber, however, noted that crossovers are more likely to happen within the same studio, much like how Marvel Studios integrates characters from its series into its films.
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“It is easier to achieve if the characters are within the same franchise or studio. For a crossover to be successful, you need established characters. It will take a bit of work for it to be successful,” said Abumere.
Cameroonian filmmaker Eystein Young believes that collaborations are not only possible but necessary for the growth of African cinema.
“As Africans, we have a lot in common,” Young said. “We need to realise as a continent that we need to keep aside the individuality of everything, especially at the level of identifying as Nollywood or whatever ‘wood.’
“Just as Hollywood operates across multiple countries, Africa could achieve greater success by working as a unified film industry rather than as separate national entities.”
Young noted that collaborations could benefit smaller African film industries, and Nigeria, one of the continent’s leading film industries, could lead the initiative.
Movie analyst Niiyin Adejuyigbe suggested that collaborations would be most profitable within popular TV series, such as combining The Men’s Club with Skinny Girl in Transit or Flatmates with Hustle. These shows already share similar target audiences, and their combination could generate more social media buzz and attract new viewers.
“We could also cross shows like Skinny Girl in Transit with Jenifa since they are different. This would merge already existing massive fandoms and create a powerhouse of a movement,” Adejuyigbe added. “But I see this best utilised as a one-off or short-term collaboration so as not to allow the novelty to wear off.”
While the idea of crossovers is exciting, some believe producers and investors may not be ready to take this leap, preferring to focus on individual successes.
Abumere, earlier quoted, pointed out that many producers are hesitant to crossovers because it is still relatively untested in Nollywood. Despite this skepticism, industry experts agree that collaborative franchises in Nollywood could revolutionise the industry and usher in a new era for audiences.
