Reasons Nollywood Producers Avoid the January Release Timeline

January has a reputation in Nollywood, and it’s not a flattering one. For years, cinema producers have treated it like a month to tiptoe around, not rush into. When you look closely at recent release patterns, that caution becomes very clear.

In January 2024, only two titles made it to cinemas: Meeting Funmi’s Parents and Mr Patrick Wahala in America. In January 2025, the number dropped to just one: Something About the Briggs.

Now in January 2026, we’re seeing two releases again: Alive Till Dawn and Everything Is New Again, both scheduled for January 30. That’s five films across three Januaries.

What’s more interesting is not just how few they are, but when they’re released. Every single one landed toward the end of the month. This is not accidental.

January is a recovery period for audiences. December is packed with spending: travel, weddings, Christmas, Detty December outings, and family obligations. By the time January arrives, most people are in reset mode. Entertainment budgets shrink, outings reduce, and cinemas feel the slowdown almost immediately.

Producers know this. That’s why January releases are often delayed until the last week, when salaries have landed, financial pressure eases slightly, and people start easing back into leisure activities. Releasing early January is almost seen as a guaranteed struggle unless the film has unusual hype or a very loyal audience.

When you contrast January with the rest of the year, the difference is striking. From February to December 2025, Nollywood cinemas recorded between six and nine releases every single month.

That’s a steady flow of titles competing for attention, screens, and audience spending. These months are where producers feel safer. Valentine season, Easter, school holidays, summer breaks, and December festivities all create emotional or social reasons for people to visit cinemas. January offers none of that.

It also affects distributor confidence. Distributors want strong opening weekends because that momentum determines screen retention and showtimes. January’s low foot traffic makes those numbers harder to achieve, so many distributors simply avoid the month altogether or treat it as a soft landing for smaller or niche films.

Marketing fatigue plays a role too. December is loud. Audiences are bombarded with promos, trailers, influencer campaigns, and billboards. By January, attention is tired. Pushing a film aggressively at that point often costs more and delivers less impact.

So when films do show up in January, they’re usually positioned carefully. They tend to be modestly budgeted, targeted at specific audiences, or released quietly without the pressure of blockbuster expectations.

End-of-month releases, like the January 2026 titles, take advantage of improved cash flow and reduced competition, even if overall attendance is still lower than other months.

None of this means January releases can’t succeed. They can, but success in January usually looks different. It’s less about explosive openings and more about controlled runs, word of mouth, and managing expectations.

In a year where most months comfortably handle six to nine cinema releases, January remains the outlier. Sparse, cautious, and strategic. And unless audience spending habits change significantly, it’s likely to stay that way.

January isn’t ignored because Nollywood lacks confidence. It’s avoided because the numbers, year after year, quietly advise patience.