Kunle Afolayan Clarifies Comments On Funke Akindele

OpenLife Nigeria reports that Kunle Afolayan has addressed the storm that followed comments he made about cinema profits and film promotion remarks that quickly escalated into one of Nollywood’s most talked-about controversies and drew a sharp response from fellow filmmaker Funke Akindele.

The backlash began after Afolayan openly questioned the value of headline-grabbing box office figures during a public industry discussion.

In his remarks, he stressed that massive cinema earnings mean little to him if filmmakers do not directly benefit from them.

“I don’t want ₦2 billion in cinema, I don’t even want ₦1 billion in cinema that I won’t be able to collect 10 million from,” he said, emphasizing that sustainability and real profit matter more than publicity milestones.

He also spoke about promotional demands in today’s film marketing space, noting that certain social-media-driven strategies, including frequent dance videos, are personally exhausting for him. Although he did not mention names, many online users interpreted the statement as a swipe at colleagues whose films have dominated the box office through aggressive online promotion.

Funke Akindele responded shortly after, firmly distancing herself from any suggestion that she was responsible for another filmmaker’s challenges.

She cautioned against jealousy and insisted that the industry offers enough space for everyone to succeed. She later shared a video of herself dancing while promoting her record-breaking film, a move widely perceived as a pointed reply.

The situation took a more personal turn when Afolayan revealed, during his live interview on Arise News, that Akindele contacted him directly following the controversy.

“She called, and she said, ‘I know you don’t like me, but don’t mention my name in your interviews,’ she was yelling, and she dropped the phone after that,” he said.

According to Afolayan, the call left him confused and unsettled, considering their long-standing relationship.

“It was weird, and I’m like, where is this coming from. She’s like a sister to me. In Unilag, I would go to her hostel; her sister is also my friend, so I am not sure where this is coming from,” he said.

Addressing the public reaction, Afolayan insisted his words were widely misunderstood and clarified that he never condemned Akindele or any filmmaker for how they choose to promote their films.

“I never said anything was wrong with it. For me, it’s draining. I have absolutely nothing against it. I’m just saying what I will not do,” he explained.

He further stated that his remarks were made strictly within the context of a professional discussion on the economics of cinema releases.

“The honest truth is, it was a forum, it was a film business forum, and we had the cinema operators there, and the cinema operators were asking me, when are you coming back to cinema, and I said, I can’t come to cinema if you cannot guarantee that I will make substantial money,” he said.

As criticism mounted online, Afolayan expressed disappointment at how quickly the narrative turned hostile.

He offered an apology to Akindele, acknowledging that his comments may have caused offense.
“If for any reason she feels offended, I’m sorry,” he said.

However, he also condemned what he described as coordinated online attacks that escalated the issue.

“But one thing she has done, which I think is totally wrong, and I would never do this kind of thing, is to use social media rats to come after whoever it is.”

Despite the tension, Afolayan made it clear that he respects Akindele’s achievements and strategic growth within the industry. He described her career as a model worth studying, especially for emerging filmmakers.

“I clearly said to them (young filmmakers), that if you want to adopt a model that I think will work for you now, then follow Funke Akindele’s model,” he said.

“Funke started at a younger age, and then she did Jenifa with minimal budget, rolling resources, and from then, look at Funke’s brand now, she has grown.”

What began as a business-driven conversation about cinema profitability has spiraled into a broader industry debate on success, perception, and communication in Nollywood.

While Kunle Afolayan maintains that his remarks were misunderstood, the episode underscores how easily professional discourse can be reframed in the court of public opinion.

As both filmmakers continue to shape the industry in their own ways, the controversy highlights the growing need for clearer dialogue around money, marketing, and mutual respect in Nigeria’s evolving film landscape.