CEAN Responds to Cinema Scheduling Allegations: What the Statement Really Says

Over the past few days, conversations around cinema scheduling in Nigeria have grown louder, especially following claims by some filmmakers and moviegoers that certain films were unfairly treated during the busy holiday season. At the centre of this conversation is the Cinema Exhibitors Association of Nigeria, popularly known as CEAN. In response to the allegations, the association released an official statement addressing the concerns and offering its own side of the story.

CEAN’s statement is clearly aimed at calming tensions and correcting what it believes are misunderstandings about how cinemas operate, particularly during peak periods like Christmas and public holidays. According to the association, box office success is not determined by favouritism or bias from cinema owners, but by a mix of audience interest, marketing strength, and an existing fan base for each film. In simple terms, they are saying that people decide what succeeds, not secret deals behind closed doors.

One of the key points CEAN emphasized is how cinema scheduling works in real time. During high-traffic seasons, audience behaviour can change very quickly. A film that sells out consistently will naturally be given more showtimes, while one that struggles to pull viewers may see fewer screenings. From the exhibitors’ perspective, this is not punishment or discrimination but a business decision meant to avoid empty halls and wasted resources. CEAN notes that this approach is not unique to Nigeria and is standard practice in cinemas around the world.

The association also addressed more serious allegations involving misconduct, such as refusing to honour valid tickets or failing to issue refunds. On this point, CEAN drew a firm line. It stated clearly that it does not support any form of misconduct by cinemas under its umbrella. While acknowledging that complaints have been made, the association explained that such cases are currently under review and that corrective action will be taken where necessary. CEAN also suggested that some of these issues may stem from miscommunication or misunderstanding rather than deliberate wrongdoing.

Another important part of the statement is CEAN’s call for filmmakers to use established channels when raising concerns. Rather than taking grievances straight to social media, the association encourages direct engagement so issues can be properly investigated and resolved. This part of the message seems to be an attempt to reduce public back-and-forth and promote dialogue behind the scenes, where solutions may be easier to reach.

Beyond defending its practices, CEAN also took time to reaffirm its broader commitment to Nollywood. The association spoke about transparency, fairness, and the long-term growth of the industry. It positioned itself not as an enemy of filmmakers, but as a partner whose success is tied to the success of Nigerian films. After all, cinemas rely on strong local content to attract audiences, just as filmmakers rely on cinemas for distribution and revenue.

That said, the statement also raises important questions for the industry. While demand-driven scheduling makes business sense, filmmakers often worry about how quickly decisions are made and whether smaller films are given a fair chance to find their audience. In a growing industry like Nollywood, where production output is high and release windows are tight, even small scheduling changes can significantly affect a film’s box office performance.

CEAN’s response does not deny that problems exist, but it frames them as operational challenges rather than deliberate bias. Whether this explanation satisfies filmmakers and audiences remains to be seen. What is clear, however, is that the relationship between exhibitors, distributors, and producers needs stronger communication and clearer expectations, especially during peak seasons when competition is intense.

In closing, CEAN ended its statement on a patriotic note, reaffirming its dedication to Nigeria and the continued growth of Nollywood. The message is one of reassurance: that cinemas are listening, reviews are ongoing, and collaboration is still the preferred path forward. As the industry continues to expand and mature, moments like this may serve as necessary pressure points that push all sides toward better systems, clearer rules, and a more transparent future for Nigerian cinema.