The December Blockbuster Rush: Nollywood’s High-Stakes Holiday Season

For nearly a decade, December  has transformed into Nollywood’s unofficial blockbuster month.

What started as a bold move by a few ambitious producers has now become an annual spectacle—a race to secure the prized December release slot. In a country where Christmas has long been a time for family, food, and festivity, the holiday season has now become synonymous with a trip to the cinema.

In 2025, the tradition continues with the much-anticipated release of “King of Boys 3,”the latest installment in Kemi Adetiba’s politically charged crime saga. Announced via Instagram, the film is poised to be a major draw for audiences, capitalizing on the high-energy atmosphere that December is known for.

But what is it about this season that makes it so irresistible for Nollywood’s biggest releases?

“There are several release windows throughout the year, like Valentine’s, Easter, and Eid, but December stands out as the most significant,” explains Ikeade Oriade. “It’s a time when families are gathered, people are celebrating, and they’re more likely to treat themselves to experiences they might have missed earlier in the year.”

This festive mood propels movie-watching, especially as many Nigerians abroad (IJGBs) return home during the holidays, eager to share collective experiences like cinema outings with family and friends. Oriade notes that this sense of shared excitement aligns perfectly with the blockbuster model: “Big-budget productions, star-studded casts, and stories with broad appeal are what draw people to the theaters during December.”

For moviegoers like Zion Tolulope, the appeal lies in the cultural specificity of these films. “The way Christmas is portrayed, mostly showcasing the different celebrations we have in the Rural and Urban areas in states,” he says, highlighting how Nollywood’s December releases tap into nostalgia and regional pride.

The statistics support this cultural shift. Films like “Omo Ghetto: The Saga” (2020), “Battle on Buka Street” (2022), “A Tribe Called Judah” (2023), and “Everybody Loves Jenifa”(2024) have all dominated the December box office in recent years, each grossing millions and setting attendance records. “Everybody Loves Jenifa” even became Nollywood’s highest-grossing film, cementing December’s place as a lucrative period for the industry.

Yet not all viewers are swept up in the hype. “To be very honest, none,” Zion admits when asked if any past December release left a strong impression on him, a reminder that commercial success doesn’t always translate to lasting cultural impact.

While only “King of Boys 3” is officially slated for December 2025, several films are generating buzz and might also claim their spot in the holiday release window. Titles like “Finding Messiah“, “77: The Festac Conspiracy“, and “Sugar Rush 2” are all currently in production or post-production, with some set to release later in the year. Though not all will make it by December, several are likely to aim for the festive season, understanding its strategic importance.

The logic behind the December rush is simple: “People are willing to spend more during this period. It’s as if they’ve saved up or are more willing to indulge themselves because it’s a time of celebration,” Oriade explains. “They’ll spend again when the new year comes, but December is all about enjoyment.” Still, the blockbuster formula isn’t without complications.

Ese Ariremu, a rising director and screenwriter known for his bold, emotionally charged storytelling (“IDIA”, “Afterparty”), notes how the December rush affects creative decisions: “The December window definitely creates a kind of ‘event film’ pressure. So stories are tailored to be high-energy, star-studded, and crowd-pleasing. That often sidelines more nuanced or genre-bending stories that don’t fit the celebratory mood.”

This pressure to conform may explain why some audiences, like Zion, feel underwhelmed. “I don’t really anticipate [new releases] because there is really nothing new in the plot or story line of Nollywood Christmas movies,” he says, echoing concerns about repetitive narratives.

For Ariremu, the dominance of December releases is a double-edged sword. “On one hand, the obsession has created a moment for communal cinema-going, which boosts visibility and prestige. On the other, it risks becoming formulaic. Same stars, same plots, same beats—just because that’s what sells in December.”

Despite these concerns, many filmmakers still see the period as a strategic move. “Story always comes first for me,” Ariremu insists, “but I’d be lying if I said I don’t consider the release window. If a producer mentions December, I might adjust tone or pacing slightly. But the emotional core has to remain intact.”

Behind the scenes, however, the battle for December goes beyond artistic concerns—it’s a logistical and financial war.

Cassandra Onwualu, an experienced distribution and marketing strategist and CEO of Ojiugo Arena, explains that the real gatekeeper is visibility and marketing. “If a film is on everybody’s lips, it’s more likely to get that December slot. That’s why Funke Akindele consistently gets the spot—she has a proven track record of putting everything behind her film: budget, talent, media.”

Cinema chains look for films that can deliver ticket sales without requiring them to spend heavily on promotion. “Distributors are spending less and less on marketing,” Onwualu notes. “So that burden falls on the filmmaker; posters, billboards, media placements. This could run up to 20 or 30 million naira. It’s an expensive venture.”

Zion Tolulope’s perspective underscores this reality. When asked if December blockbusters are genuinely better in quality, he replies: “I’ll say the hype around it. I rarely listen to or watch Christmas Nollywood movies except there is a high rep about it.”

Even with a strong campaign, competition is fierce for limited screen slots and showtimes. “You have to make friends with cinema managers,” Onwualu says, laughing. “Distribution is about relationships. And not every film makes the cut. Some just don’t have theatrical value—too slow, too niche, or genre films like horror, which don’t always draw Nigerian audiences.”

This rush mirrors Hollywood’s summer blockbuster strategy. In the U.S., major studios save their largest films for the warm months of May to August, when families are on vacation and the cinemas are packed. Oriade clarifies that, while the logic may be similar, the financial boost for Nollywood comes from “people in Nigeria having more money to spend in December,” whereas overseas, the summer months are ideal due to good weather and travel.

Ariremu believes other windows in the Nigerian calendar deserve more attention: “Easter and Eid are great. Even Halloween could be explored more—especially for horror and thrillers that tackle social issues but stay culturally grounded.” Yet despite alternative periods, December remains dominant for one reason: performance.

“December movies consistently outperform others,” Onwualu affirms. “People have spent the year hustling. In December, there’s an influx; locals, diasporans—and they’re ready to spend on entertainment.”

But the risk is real. As Onwualu points out, “If a film isn’t performing, cinemas can yank it off the schedule. They’re selling slots. If your film isn’t filling seats, it’s losing them money.”

Yet, some commentators express concern that this December rush might stunt Nollywood’s growth. If filmmakers focus solely on December, what happens for the rest of the year?

Oriade argues that it’s not inherently bad but stresses the importance of balance: “The key is to avoid everyone waiting for December. Even internationally, some months suffer at the box office. What really matters is consistently telling better stories and making better films all year round. Even if a film doesn’t perform well right away, it will have a longer shelf life if the story is solid.”

This long-term focus is vital for Nollywood’s survival. While December remains a financially significant release window, the industry’s future depends on cultivating a year-round audience. Streaming platforms like Prime Video and Netflix are already shifting attention away from the December rush by offering films year-round, providing an outlet for films that may otherwise be overshadowed by the holiday blockbusters.

Nevertheless, the excitement of a December release is undeniable. It’s a high-risk, high-reward gamble that only the boldest studios are willing to take.

As 2025 unfolds, all eyes will be on “King of Boys 3” and the surprises that might accompany it on the big screen. The December lineup continues to showcase Nollywood’s ambition and growth: quick-thinking, high-energy, and perfectly attuned to its audience.