“Success is when a Nollywood film lands meaningfully in another culture, sparking curiosity, conversation, or even follow-up demand.”
Meet Aondofa Shija, a film business analyst helping Nollywood make sharper, more informed decisions as it positions itself globally. With a background in data and project management across health and tech, Aondofa brings structured thinking into an industry driven by data. His work sits at the intersection of theatrical strategy, audience behavior, and international box office ambition.
At Nile Entertainment, he leads box office intelligence, supports theatrical rollouts, and provides the kind of insight that transforms release dates, marketing strategies, and audience behavior data into powerful tools for maximizing a film’s commercial impact.
In this edition of Industry Voices, Aondofa talks to us about the shifts happening in Nollywood’s distribution space, how data can help stories travel further, and why now is a defining moment for the future of Nigerian cinema.
How did your path lead you to working in film, especially on the business side of things?
My journey into film wasn’t traditional. I came from a background in data and project management within the health development and tech sectors. But I’ve always been passionate about box office numbers and the behind the scene of film business. My transition into film happened organically starting with analyzing box office trends. Eventually, I was drawn into the business side, where I realized how vital structured insights are in shaping theatrical performance. Working with NILE allowed me to blend my analytical skillset with the vibrancy of Nollywood.
As a film business analyst, what does your work look like day-to-day? What are you usually focused on during a film’s distribution process?
My day-to-day revolves around monitoring box office data, mapping competitive landscapes, and supporting the distribution team with strategic decisions. During a film’s distribution cycle, be it local or international, I focus on release timing, market segmentation, and performance forecasting. I also spearhead the Nile Box Office Insights series, shaping public and industry understanding of film performance and provide input for external communications, media features, and speaking engagements.
When you’re involved in building an international theatrical strategy, what does success look like for you? Is it purely numbers, or something more complex?
Success isn’t just numbers, though they matter. For me, success is when a Nollywood film lands meaningfully in another culture, sparking curiosity, conversation, or even follow-up demand. It’s about positioning our stories globally. A great opening weekend matters, but long-term access and audience growth matter more.
What have you learned about the Nollywood distribution pipeline that you think more people,especially creatives should understand?
One key thing is that timing, data, and audience behavior really matter. Creatives sometimes view distribution as an afterthought, but how and when a film is released can determine its success or failure. Filmmakers need to collaborate earlier with distributors and analysts, understanding that marketing, exhibition, and platform strategy are just as critical as the script or cast.
Do you feel like Nollywood’s current infrastructure supports global theatrical releases, or are we still figuring it out?
We’re still figuring it out, but we’re making steady progress. There’s a growing interest in international theatrical partnerships, and the industry is beginning to understand the mechanics of export-ready content. However, we still need stronger local distribution systems, better audience insights, and more structured release pipelines to fully support global ambitions.
What’s one decision or strategic move you’ve been a part of that made you feel proud of the direction the industry is heading?
One moment I’m really proud of was leading a film business intelligence report that unpacked box office and admissions data in a clear, digestible way. I’ve tracked the numbers for over seven years, but this was the first time the insights were framed to speak directly to both insiders and enthusiasts.
The response was deeply encouraging, industry observers appreciated how the data helped make sense of the region’s theatrical resilience, especially in the face of tough macroeconomic conditions. It showed that, despite the odds, audiences are still showing up, and that bounce-back is real. That kind of clarity helps all of us, whether it’s creatives, investors, or analysts, to understand what’s working and where we go from here.
How do you see the relationship between analysts and creatives evolving in Nollywood? Is there enough collaboration,or not yet?
It’s improving, but we’re not there yet. Many creatives are just starting to see analysts not as gatekeepers, but as collaborators who can help them amplify their impact. The more we communicate value in actionable ways, showing how data can enhance story reach, the more that bridge will strengthen.
Where do you personally hope to take your career, and what kind of projects or impact do you hope to be part of five years from now?
In five years, I hope to be at the forefront of reshaping how Nigerian cinema is valued, both at home and globally. I want to work on projects that bridge creative expression with commercial viability, ensuring that our films not only resonate but also travel. I’m particularly interested in international co-productions and theatrical strategy. Ultimately, I want to help position Nigerian cinema as a serious player on the global stage, not just through storytelling, but through how the business around it is structured, measured, and scaled.
If someone were to read this years from now, what would you want them to know about what it felt like working in this moment, where Nollywood is finding its global footing?
This was a defining moment, one where the industry was truly proving its resilience. With global streamers pulling back on licensing Nigerian content, it forced a shift: we had to dig deeper, tell better stories, and make every release count. Rather than shrinking, the industry started leaning into its strength, cinema. It became clear that Nigeria has the potential to build a thriving box office culture after COVID and audience shifts in movie habits and patterns. This period reminded us that we’re not just waiting to be picked, we’re building something that demands attention, support and investment. We are rethinking our value from the inside out.
This interview is part of Industry Voices — Nollypedia’s spotlight on the minds shaping the art and business of Nigerian cinema.
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