As Netflix and Amazon Prime retreat from Nigeria’s original content scene, two of Nollywood’s biggest players, Inkblot Studios and Filmhouse Group, are betting that the time is finally right for a homegrown streaming service. Their joint venture, Kava, is set to launch in August 2025, promising a curated library of Nollywood films and series backed by scale, strategy, and a touch of realism.

At first glance, it’s an ambitious leap. Kava enters a streaming landscape littered with cautionary tales—iROKOtv chief among them—while global streamers pull back on African investments and creators increasingly pivot to YouTube in search of monetisation and autonomy.

But Kava’s founders insist they’ve learned from past failures. And rather than chase Netflix’s scale or Iroko’s first-mover status, they’re building for depth—with a model that leans on high-quality local content, diaspora appeal, and a sustainable, multi-platform ecosystem.

“We’re not just streaming films. We’re fueling careers and building an infrastructure for African storytelling,” says Kene Okwuosa, Kava’s co-CEO and head of Filmhouse Group.

Filmhouse boasts West Africa’s largest cinema chain and controls a vertically integrated studio-distribution network through FilmOne. Inkblot Studios, behind hits like The Set Up and Up North, was the first Nigerian production house to ink licensing deals with both Netflix and Amazon.

The platform launches with over 30 premium Nollywood titles and promises fresh drops weekly. Featured titles include Alakada Bad and Boujee, Owambe Thieves, What About Us, and House Job. Originals are in the pipeline, and Kava eventually plans to scale beyond Nigeria to tell stories across Africa.

But more than content, the founders say, Kava is a “digital infrastructure” project; a way to centralise Nollywood’s fractured monetisation channels, serve fans directly, and offer creators fairer economics than the ad-driven instability of YouTube or the bureaucratic lag of foreign licensing.

“When we deliver content at scale to audiences beyond ourselves, they’ll fall in love with the stories. They just don’t know it yet,” says Inkblot’s Chinaza Onuzo, who serves as Kava’s co-CEO.

Kava arrives at a transitional moment. Netflix and Prime Video have dialled back their local originals after a brief Nollywood shopping spree between 2020 and 2022. What’s hitting screens now, like Kemi Adetiba’s To Kill A Monkey, are the last remnants of that era. New commissions have slowed to a crawl.

This vacuum has driven creators to YouTube, where lighter, faster productions offer greater creative control and instant ad payouts. But the economics remain brutal. CPMs in Nigeria hover around USD 1.00, and a star actor might cost millions of naira, meaning millions of weekly views are required to break even, let alone profit.

Subscription platforms (SVODs) aren’t much better. iROKOtv, once hailed as the “Netflix of Africa,” spent over USD 100 M trying to crack the Nigerian market, only to retreat in 2023 and pivot to diaspora users in the U.S. and U.K. Its active user base peaked at under 200,000. Even its founder Jason Njoku now insists: “SVOD can’t work here.”

Fresh attempts at wooing the diaspora indicate a push for untapped opportunities, however. Roughly five million Nigerians live abroad, sending more than USD 20 B home every year. They’re already used to subscriptions and hungry for high-quality content that reflects their culture. Kava, along with other newcomer rivals, such as EbonlyLife ON Plus, is chasing that niche.

Kava’s leadership sees itself less as a Netflix clone and more of a niche but deeply committed hub for loyal fans. Product chief Damola Ademola compares the model to anime or horror streaming services like Shudder: “African movies can easily be just like that,” he told TechCabal.

Funding is in motion. A friends-and-family round has already closed, with institutional backing from TLG Capital and VestedWorld. More capital will be instrumental in expanding Kava’s footprint across Africa and into the U.K. and Europe. Yet even with funding, no one is pretending this will be easy.

Feature Image Credits: BusinessDayNG

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On the evening of March 24, the launch of Kava, a new streaming platform for Nollywood and African content, brought together the worlds of music, film, and technology. Prodigy saxophonist Temilayo Abodunrin serenaded actor Shaffy Bello, who danced joyfully amid industry veterans, filmmakers, and investors.

Set to launch in August 2025, Kava, a subscription-based platform, is a collaborative effort between InkBlot Studios, an industry heavyweight behind box office hits, and Filmhouse Group, West Africa’s largest cinema chain. 

“We’re building a platform that doesn’t just stream films—it fuels careers, drives innovation, and connects African creativity to audiences around the world,” said Kene Okwuosa, Kava’s co-CEO and head of Filmhouse Group.

In a panel discussion, Kava’s co-CEOs, Okwuosa and Chinaza Onuzo, revealed the venture’s ambitious origins. What began as an idea five years ago only started taking shape three months prior. Onuzo, whose production company has collaborated with Filmhouse for nearly a decade, asserts the timing is now perfect for their vision: to build a sustainable digital ecosystem for African storytelling.

Kava has a point to prove

Nollywood has a remarkable history of reinvention, continuously adapting its distribution model from VCD rentals to cinemas and now, streaming. Today, global giants like Netflix and Amazon Prime, alongside YouTube and local pioneers like IROKOTV, offer vast movie catalogues.

Despite Nollywood’s increasing popularity, especially among the diaspora, no platform has yet cracked the code on making African stories a global streaming staple and a sustainable business. U.S. giants like Netflix and Amazon Prime, after significant investments, are scaling back operations in Nigeria..

Homegrown platforms like IrokoTV also exited the Nigerian market, with founder Jason Njoku candidly stating, “Between the revenues we generated and the venture capital we raised $35 million over the first ten years, we easily spent $100 million trying to win. We were just there, in full survival mode, operating in the toughest conditions possible.”

However, Damola Ademola, co-founder of Inkblot and Kava’s product head, remains optimistic. He told TechCabal that IrokoTV “may have been ahead of its time,” noting that when the company launched nearly a decade ago, “broadband networking was not as penetrative on the continent.” Now, he argues, “a lot more people are used to the concept of streaming. It’s an easier sell.” 

Ademola draws parallels to successful niche services like Crunchyroll for anime and Shudder for horror, asserting, “African movies can easily be just like that.” He even cites a surprising example of Nollywood’s global reach: “Before the Ukrainian war, every time we released a Nollywood movie, we would see a spike in Ukraine… it means that our content can be universal, can be global.”

Kava Co-CEO Onuzo further emphasises the existing global consumption of Nigerian content: “One of the things that the streaming era showed us was that our content is consumed all over the world. I don’t know how many Nigerians are in Brazil, or Argentina, but you find that our content trots well and people engage it.”

Kava aims to capitalise on this interest by delivering high-quality, diverse content at scale. “When we’re able to deliver content at scale to audiences that are not just us, they will understand and fall in love with the stories that we have. They just don’t know it yet, but they will fall in love with us.”

At launch, Kava will feature over 30 premium Nollywood titles, with fresh releases weekly, including Alakada Bad and Boujee, Owambe Thieves (starring Zubby Michael, Odunlade Adekola, and Solo Sobowale), What About Us (featuring Kuni Remie and Uzor Arukwe), and House Job with Erica Nlewedim. Beyond licensing, the co-CEOs are committed to original content. 

Onuzo notes, “The beauty of this platform is that it allows us to scale our ability to tell stories…in different identities, different languages, different versions.” While Nigeria and Nollywood are the starting point, Kava envisions programming in many African countries.

Funding the vision 

This ambition requires significant funding. Kava has secured initial investments from a “family and friends” round and financiers like Vested World and TLG Capital. While the specific amount wasn’t disclosed, product chief Adedamola told TechCabal the company will soon raise more funding for rapid expansion across Africa and into Europe, particularly the UK.

This optimism aligns with a recent surge of investment in Nollywood from Nigeria’s tech sector. Since 2023, African startup founders and VCs have been increasingly backing films directly, with firms like Voltron Capital reportedly achieving up to 3x returns on projects like The Black Book and Gangs of Lagos. Dedicated film financing marketplaces like TalentX Africa are also emerging.

Ladun Awobokun, Kava’s Head of Content Acquisition, encapsulates the platform’s expansive vision: “Kava will champion African music, movies, fashion, culture, and voices, creating a space where creators across Nigeria and the diaspora can shine.”

The global success of Afrobeats and African fashion offers a compelling precedent for Nollywood. Onuzo reiterated, “One of the things that the streaming era showed us was that our content is consumed all over the world… you find that our content travels well and people engage with it.” Kava aims to leverage this existing global interest. “And we believe that when we’re able to deliver content at scale to audiences that are not just us, they will understand and fall in love with the stories that we have,” Onuzo concluded. “They just don’t know it yet, but they will fall in love with us.

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