October is already off to a busy start for Nigerian cinema. In this week’s Nollywood Distilled, we look at five developments spanning the box office, international festivals, new productions and theatrical comebacks as the final quarter of the year gathers pace.
Agbara Nla Smashes Multiple Box Office Records on Opening Day
Mount Zion Film Productions’ Agbara Nla: The Return has made a historic start at the West African box office, grossing 70 million naira from 12,134 admissions on its preview day, one day ahead of its official October 2 release. Distributed by Nile, the faith-based epic recorded the biggest single-day preview gross in West African box office history, while also setting new records for the highest first-day gross by a Nollywood film, the largest first-day admissions of 2026 and the highest single-day October gross. The film’s strongest early performances came from Nigeria’s South West, reflecting the enduring popularity of the franchise in the region. The release also continues a notable year for the return of legacy films, following Omotara Johnson and Arinzo.
Dear Ajayi Extends International Festival Run to Rio and El Gouna
Damilola Orimogunje‘s Dear Ajayi is continuing its international festival journey with selections at the Rio de Janeiro International Film Festival and El Gouna Film Festival, where it will make its North African premiere. The new stops follow the film’s world premiere at Venice Days, where it received the Premio Enrico Fulchignoni and the Premio Bisato d’Oro for Best Cast and Performances, before beginning a limited Nigerian theatrical run in September. Distributed locally by FilmOne, Dear Ajayi is still scheduled for a wider Nigerian release on November 13.
Nine Nigerian Films Selected for Film Africa 2026
Nigerian cinema will have a strong showing at Film Africa 2026, with feature films spanning established auteurs and debut directors selected for this year’s programme. The lineup includes Chinazaekpere Chukwu‘s debut feature Her Daughters’ Mother, alongside Damilola Orimogunje’s Dear Ajayi, Arie and Chuko’s Clarissa, Daniel Oriahi‘s The Secret Lives of Baba Segi’s Wives, Shimataver Igbawua’s Language of the Wind, Olive Nwosu‘s Lady and The Critics Company‘s documentary Crocodile. The short-film programme also features Praise Odigie Paige‘s Birdie and Dika Ofoma‘s Obi is a Boy. Running from October 23 to November 1 in London, Film Africa remains one of Europe’s leading showcases for African and diaspora cinema.
Segilola Ogidan Unveils The ICU, First Film in Planned Trilogy
Segilola Ogidan (Tainted Canvas) has officially unveiled The ICU, a psychological thriller slated for release in early 2027. The film marks Ogidan’s third feature and the first instalment in the planned Hospital Chronicles trilogy. Set in a private Lagos hospital, The ICU follows Bukky, a woman recovering from a miscarriage and is forced into a fight for survival. The newly announced cast includes Ozzy Agu, Demola Adedoyin, Tina Mba, Etta JoMaria, Kadaria Ahmed in her feature film debut, Oyemen Ehikhamhen in her Nollywood debut, and Kamo State. Produced by Boma Akpore, the film is positioned as a psychological thriller exploring grief, institutional power and survival, with principal photography completed earlier this year.
Issakaba: The Return Unveils First Trailer Ahead of November Release
The first trailer for Issakaba: The Return, directed by Lancelot Oduwa Imasuen, has been released ahead of its nationwide theatrical debut on November 13 through Blue Pictures. Originally announced in 2024, the film revisits one of Nollywood’s most recognisable action franchises more than two decades after the original Issakaba film, with the new trailer offering the clearest look yet at the film, also set to star Sam Dede. Its release also adds to what has become a notable year for the return of legacy Nigerian titles, following Agbara Nla: The Return, The Return of Arinzo and Return of Omotara Johnson. As 2026 continues to revisit familiar titles and characters, Issakaba: The Return becomes another test of how much commercial and cultural value still resides in Nollywood’s older intellectual property.
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