Francis Duru Reignites Nollywood Debate: “Igbos Built Modern Nollywood, But Yorubas Have Become More Dominant”

Veteran Nollywood actor Francis Duru has reopened the long-running conversation about who built, shaped and currently dominates Nigeria’s film industry, arguing that while Igbo entrepreneurs played a major role in the rise of the modern home-video era, Yoruba filmmakers have become more influential because they have been more effective at organising, investing collectively and promoting their cultural stories. His comments have now turned Nollywood history into the latest arena for an argument that Nigerians may need popcorn to survive.

Speaking during an interview on Gbam, Duru acknowledged the contributions of Yoruba pioneers such as Herbert Ogunde to Nigerian theatre and performance, but distinguished that history from what he described as the modern Nollywood home-video revolution of the 1990s and early 2000s. He argued that Igbo entrepreneurs, particularly traders, helped turn home video into a major commercial film industry, while saying the Igbo community subsequently failed to consolidate that influence.

Francis Duru Says Yoruba Filmmakers “Protected Their Own”

Duru’s central argument is less about accusing Yoruba filmmakers of taking something and more about asking why they have been able to build stronger structures around their cultural identity. He said Yoruba filmmakers created opportunities for their people and made deliberate efforts to project their heritage, while urging Igbos to learn from that approach rather than becoming angry about the change in influence.

That argument has nevertheless opened the door to a much bigger debate because the history of Nigerian cinema is far more complicated than a simple Igbo-versus-Yoruba scoreboard. Yoruba pioneers such as Herbert Ogunde were active in Nigerian theatre and performance long before the commercial home-video boom, while the modern Nollywood era involved contributions from people across different ethnic and regional backgrounds. Duru himself acknowledged Ogunde’s pioneering role during the interview.

From Nollywood History to the Netflix Question

One of Duru’s biggest concerns is cultural representation. He argued that Igbo heritage is not receiving enough visibility on major streaming platforms and questioned why more films have not been made about prominent Igbo historical figures. He also criticised situations in which filmmakers outside the Igbo community tell Igbo stories, citing Ahamefuna as an example of what he believes can happen when cultural stories are handled without sufficient understanding.

The actor’s solution was not for Igbos to attack Yoruba filmmakers, but to become more organised and proactive. In his telling, the real lesson is that cultural influence requires more than having talented actors and writers; it requires investment, collaboration and the willingness to tell one’s own stories. And that is where the satire writes itself: Nollywood may have survived pirates, VHS tapes, DVDs, YouTube and streaming platforms, only to discover that its newest blockbuster is an argument over who deserves the historical credits.

Francis Duru’s comments have already generated debate about ethnicity, cultural ownership, collective investment and representation in Nigerian entertainment. His claims about the industry’s history are his interpretation and should not be treated as an uncontested historical verdict. What is beyond dispute is that Nollywood has been shaped by contributions from many communities, and the current conversation may ultimately be less about who “owns” Nollywood than who is doing the best job of preserving and exporting their stories. OGM News NG will continue watching the debate as filmmakers, actors and audiences react.