The Herd: Nollywood’s New Crime Thriller Sparks Debate, Cultural Reflections, and a National Conversation

Nollywood’s latest crime thriller, The Herd, has done more than entertain audiences. It has ignited a nationwide conversation about insecurity, identity, and the power of storytelling. Directed by Daniel Etim Effiong in his feature film debut, the movie arrived in cinemas with strong momentum and left Nigeria’s social media space buzzing with controversy, defense, and deep introspection.

A Film Rooted in Tension and Reality

The Herd follows Gosi, a man juggling the emotional weight of his wife’s recurring cancer scare while travelling to celebrate a friend’s wedding. On their return to the hotel, the joyous night collapses into terror when they are ambushed and kidnapped by gunmen disguised as cattle herders.

The film’s cast features a powerful ensemble including Genoveva Umeh, Linda Ejiofor, Lateef Adedimeji, Mercy Aigbe, Daniel Etim Effiong, Adam Garba, and Blessing Jessica Obasi. Produced by Toritorifilms and Filmonest Studios, the movie combines drama, action, and social commentary in a way that mirrors the country’s ongoing security struggles.

The movie opened in Nigerian cinemas on October 17, pulling in an impressive N47.1 million in its first weekend. Before its Netflix release on November 21, 2025, it had already grossed over N180 million, solidifying its status as a commercial hit.

The Controversy Begins: Early Streaming Release and Public Concerns

Long before conversations about stereotyping erupted, the first major debate around The Herd was its quick move to Netflix. Traditionally, Nollywood films stay in theaters for 8–9 weeks, followed by several months—sometimes a year—before hitting streaming platforms.

Many questioned the urgency. Was it strategic? Was it motivated by fear of losing cinema momentum? Or was it simply a new distribution model emerging in Nigeria’s changing film economy?

Whatever the reason, Netflix released the film barely a month after its cinema debut, and the conversation moved swiftly from timing to theme.

Backlash From Northern and Muslim Viewers

Once the film landed on Netflix, a different wave of reactions surfaced. A portion of Muslim and Northern viewers called for the movie—and the platform—to be banned, arguing that the portrayal of gunmen disguised as herders reinforced harmful stereotypes against Fulani communities and Muslims.

One of the loudest early calls came from X user @fulani_tutor, who reposted the Netflix trailer with a firm message: “Ban Netflix. Ban The Herd. Delete Netflix from your phone. As a Muslim, you have no business with this movie.”

Her post set off a flurry of divided opinions.

Some agreed with her concerns about profiling. Others—Muslims and Northerners included—challenged the narrative, insisting that the film portrayed criminals, not a religion or an entire ethnic group.

A Heated Debate on X

A range of voices weighed in @simply_sanusi argued that adults should watch and decide for themselves, adding that Northern communities must confront the reality of terrorism rather than bury it.

@idrisaoni1 insisted that terrorism has no connection with Islam, stressing that the film depicted criminals, not a faith or people.

Others saw potential danger in how the imagery could reinforce global stereotypes. @oil_sheikh questioned whether the outfits used for the kidnappers mirrored how Muslims are profiled across media.

The debate deepened when some pointed out that the movie also portrayed a corrupt pastor involved in the sale of human parts—a detail many felt was conveniently ignored by those calling for a ban. As @i_am_ilemona noted, no Christian group reacted with the same intensity.

Director Niyi Akinmolayan added that one of the criminal masterminds—a pastor—was portrayed by a respected Muslim actor (Lateef Adedimeji), reinforcing the film’s attempt to avoid religious bias.

Among the sharpest critiques was a comment that drew widespread attention: “A religion that fears a film more than it fears terrorism has lost its moral compass…The Herd is not the threat; the real-life horrors it portrays are.” — @muntheshinobi

Bashir Ahmad’s Broader Concerns

Former presidential aide Bashir Ahmad added depth to the conversation. He acknowledged that while Fulani communities have their share of violent actors, the overwhelming majority are victims, not perpetrators. His concern was not that the film showed bandits, but that it might reinforce a simplistic narrative that paints all Fulani herders as terrorists.

He argued that film has immense influence, especially internationally, and that such portrayals—without context or nuance—can harden stereotypes. Ahmad also emphasized the lack of investment in Northern storytelling, pointing out that Hollywood, Bollywood, and even state-backed film industries worldwide use cinema as a communication and cultural battleground.

Northern filmmakers, he said, could counter narratives if they had institutional backing and support.

Conspiracy Theories and Rebuttals

As tensions rose, some observers tied the film’s timing to global events, including renewed Boko Haram and ISWAP attacks and Donald Trump’s aggressive comments about terrorism. An investigative journalist even suggested The Herd might be part of a CIA psychological operation.

Daniel Etim Effiong firmly shut this down, calling it a “dangerous conjecture” that undermines Nigerian creatives who tackle national issues with honesty and courage. He urged critics to watch the film before making inflammatory claims.

A Mirror to Nigeria’s Reality

Regardless of the controversies, The Herd has achieved something rare: it forced a national conversation about insecurity, ethnic identity, and the responsibilities of filmmakers. It challenged viewers to confront hard truths while also revealing just how fragmented perceptions of those truths can be.

The movie may divide opinions, but it draws attention to the ongoing violence plaguing Northern Nigeria—something that affects both the communities accused of perpetrating it and those suffering from its consequences.

In the end, The Herd is more than a crime thriller. It is a cultural moment. A story that lays bare the tension between reality and representation. And a reminder that in a country grappling with deep insecurity, the stories we tell—and how we tell them—carry enormous weight.