The ten finalists for the US$1.5 million 2025 competition have been revealed by Alibaba Philanthropy’s main philanthropic program, Africa’s Business Heroes (ABH). The Jack Ma Foundation’s principal African philanthropy endeavor is Africa’s Business Heroes (ABH). It helps forward-thinking businesspeople in all 54 African nations who are creating sustainable and inclusive economies. ABH will identify 100...

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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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Not long ago, giant video streaming platforms like Netflix and Amazon Prime Video were hailed as the future of television in Nigeria. They offered an escape from the limitations of cable television and promised premium on-demand content. But today, they face a powerful competitor: YouTube.

While Netflix, Showmax, and Prime Video chase audiences with sleek Nigerian originals and aggressive pricing strategies, many Nigerians are opting for YouTube for movies and series.

The reasons are economic, infrastructural, and technological.

YouTube is practical

Streaming services are getting more expensive. Netflix recently raised its Nigerian subscription prices for the third time in less than a year.  According to Punch, the increase follows similar hikes in April and July 2024.

Under the new price, Netflix’s premium plan now costs ₦8,500 a month, up from ₦7,000 ($5.3).The Standard plan jumped to ₦6,500 ($4.1) from ₦5,500 ($3.4).The Basic plan rose to ₦4,000 ($2.5) from ₦3,500($2.2), and the Mobile plan now costs ₦2,500 ($1.6), up from ₦2,200 ($1.4).

Showmax’s subscription starts at ₦3,200 ($2), and its full version at ₦2,500($1.6). Prime Video’s subscription  is ₦2,300, but now shows ads unless users pay more.

In a country where the minimum wage is ₦70,000 and some people spend up to ₦40,000 ($25) on data, these prices are unaffordable for many. According to the World Bank, over half of Nigeria’s 230 million people live in poverty. Streaming, for many, is a luxury.

YouTube works better with Nigeria’s internet reality

In contrast, YouTube meets users where they are by offering what many see as a more adaptive solution. It is free, widely accessible, and critically, allows users to control video quality, download videos for offline viewing, and stream using data-saving options. 

Streaming platforms often load in HD or 4K by default, quietly draining viewers’ data. While both streaming platforms and YouTube require data, YouTube allows users to drop resolution, turn off autoplay, or use data-saving browsers like Opera Mini. Most Nigerians know the drill: download videos overnight using midnight bundles, then watch offline during the day. YouTube supports that. Most streaming  platforms don’t.

To watch videos on YouTube, users only need internet access and data, which is relatively affordable compared to subscription-based services. In a country where mobile is the dominant mode of access, that control makes a difference. Statista reports that Nigeria had 103 million active internet users as of January 2024, with most of them on  mobile, and 107 million users as of February 2025. YouTube’s mobile-first features give it a native advantage. 

Beyond affordability, YouTube offers users vast access to videos. Unlike paid streaming services such as Netflix, Amazon Prime Video, or Showmax, YouTube offers free access to an array of content, from Nollywood films to music, comedy skits, and more. In essence, people pay less for more in contrast with the abundant but still limited content bank of most streaming platforms.

Local content plus local relevance 

Another reason YouTube wins? Relevance.

Where paid platforms lead with Western and high-gloss African content, YouTube gives users content at different quality levels but which, importantly, offer more chances for relatability. 

Additionally, filmmakers and other creators on YouTube publish faster and more frequently than streamers. This is attributed to the fact that the platform gives them direct control over their content, production timelines, and distribution strategies. Unlike streaming services that require lengthy approval processes, high-budget production standards, and executive sign-offs, YouTube removes these barriers, allowing filmmakers and creators to shoot, edit, and upload content at their own pace.

It’s a business, not a bet

Streaming platforms like Netflix often buy out Nollywood creators’ work, offering upfront money but little long-term payoff. YouTube, by contrast, offers Nigerian filmmakers recurring income through its monetisation features. 

Monetisation methods include AdSense revenue, Super Thanks, Super Chat, and channel Memberships, YouTube Shorts Fund, brand partnerships and affiliate marketing. Consistent viewership can lead to sustainable income, especially for those with dedicated audiences.

Streaming activities, including YouTube, have driven record increases in internet spending and data usage in Nigeria. Also, the number of Nigerian YouTube channels earning significant revenue has doubled in recent years, encouraging even more filmmakers and creators to put their content on the platform.

Many Nollywood production houses now use YouTube as both a distribution platform and a marketing funnel, leading fans to paid platforms, merchandise, or exclusive content. It also gives them full control over release schedules, audience engagement, and monetisation strategies, which is something most streamers do not offer.

Production costs are lower, too. Unlike cinema or streaming, YouTube doesn’t require expensive cameras, costumes, or elite production values. As filmmaker Olatunbosun Amao put it in ThisDay: “On YouTube, anyone—literally anyone—can make a film. If it’s good and people like it, you can make way more than you spent.” 

Filmmaker and co-founder of iBAKATV YouTube Channel, Kazeem Adeoti, said the number of full-length movies on YouTube had grown tremendously. Several top actors own YouTube channels to directly distribute their movies to consumers, he said.

Seun Oloketuyi, film producer and founder of the Best of Nollywood (BON) awards, said YouTube had become more appealing to filmmakers as there were no specifications on the types of cameras to be used, the quality of costumes or the language mixes.

So, is YouTube a viable alternative to streaming?

For millions of Nigerians, it already is.

It’s not just about affordability. YouTube offers a tech experience that matches Nigerian habits: offline viewing, lower-res options, platform-agnostic access, and relatable content. It’s entertainment on your terms, not a Silicon Valley subscription trap.

Will streamers disappear? Probably not. But unless they rethink their pricing, data consumption, and distribution models, they may become premium outposts.

*Exchange rate used is $1 to  ₦1,600. 

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