A great website to download Nigerian movies is the 9jarocks website, which allows you to download any recent Nollywood movie. All you have to do is browse the available movies or request any movie, and 9jarocks will deliver it to you in no time.
Net Naija is one of the best and most popular websites for downloading free Nigerian movies from Yorubahood, Igbos, and Hausa. It is one of the sites where you can find both new and old movies and the most recent releases in all genres.
You can see many Nollywood, Ghanaian, and other African movies. One interesting feature of the website is that while streaming the movie, it provides a thumbnail that directs you to a point in the movie that you want to watch and also a user-friendly search option.
The site not only allows you to download Nigerian movies but also access foreign movies and has a chat feature where you can share your thoughts on videos or any trending news. You can also subscribe to the newsletter and access any new movie available on the site.
You can easily stream and download any movie using the Irokotv app or website function wherever you are. It has become a hub for content creation and distribution of popular or upcoming Nigerian films.
IbakaTv is another interesting site and app where you can download Nigerian movies. It began as a YouTube channel by Blessing Idornigie and grew to offer more than usual to viewers by producing different methods of watching Nigerian movies.
All you have to do is subscribe to the channel to access all available movies. You can expand your access by downloading the Ibakatv app to enjoy local and home videos such as Yorubahood and Nollywood affairs.
Nigerian filmmakers are becoming more educational, action-packed, and outstanding in terms of quality, approach, and highlight. If you are not a lover, it is time to venture your love to enjoy Nigerian movie productions, and the websites we have listed for you will provide you with more than enough.
However, some websites require registration and payment to access movies, while others do not. For example, 9jarocks provides unlimited access to the website without requiring registration, while IrokoTv does not.
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The Hausa-language cinema, also known informally as Kannywood, is also a sub-industry of Nollywood, mainly based in Kano. The cinema, which is the largest in Northern Nigeria, slowly evolved from the productions of RTV Kaduna and Radio Kaduna in the 1960s. Veterans like Dalhatu Bawa and Kasimu Yero pioneered drama productions that became popular with the Northern audience. The 1990s saw a dramatic change in the Northern Nigerian cinema, eager to attract more Hausa audience who find Bollywood movies more attractive, Kannywood; a cinematic synthesis of Indian and Hausa culture evolved and became extremely popular. Turmin Danya (\"The Draw\"), 1990, is usually cited as the first commercially successful Kannywood film. It was quickly followed by others like Gimbiya Fatima and Kiyarda Da Ni. Sunusi Shehu of Tauraruwa Magazine created the term \"Kannywood\" in 1999 and it soon became the popular reference term for the industry. By 2012, over 2000 film companies were registered with the Kano State Filmmakers Association.
Nollywood USA is a broad term, that is used to refer to Nigerian films made in the diaspora. Although they are popularly called Nollywood USA, these movies can be shot in any non-African country. These films are typically made by Nigerian filmmakers living in the diaspora and they are typically made for the Nigerian audience. Like the \"Nollywood\" term, the definition of \"Nollywood USA\" is vague.
Nollywood USA movies typically tell Nigerian stories, and they usually star established Nollywood actors, alongside upcoming Nigerian/African actors living in the diaspora. The movies usually have their premieres in Nigeria and they also sometimes secure national theatrical release like the regular Nollywood movies.
Alex Eyengho had noted in a 2012 article that the term \"Nollywood\" was absent during the formative years of both the video film era and the Golden Age. Seun Apara, in his article on 360Nobs.com stated: \"It's either the promoters of the event didn't do their research well or intentionally do not want to reckon with history\". Adegboyega Oyeniya comments: \"I don't know what they are talking about by celebrating 'Nollywood @ 20'; are they celebrating Ramsey Tokunbo Nouah or Genevieve Nnaji Probably, they are celebrating fortune. These people should stop deceiving Nigerians\". Some media outlets also reported that the event was a result of greed and selfish interests, as the organizers visited political figures to solicit funds in the name of the Industry, but allegedly shared the funds raised amongst themselves. Another issue raised to fault the event is that the real \"achievers\" in Nollywood were not honoured, but rather the practitioners at almost the same level with the organizers of the supposed flawed event were honoured.
President of Actors Guild of Nigeria at the time, Ibinabo Fiberesima, admitted that Nollywood is more than 20, but gave what was considered an unconvincing statement on the reason behind the event, stating: \"It's about celebrating our own even though Nollywood is more than 20 years. It's been long that people have been celebrating us but right now, we are celebrating ourselves and giving lots back to the society. It's a good step we have taken especially now that the qualities of our movies have improved\".
After the decline of the Golden era, Nigerian film industry experienced a second major boom in the 1990s, supposedly marked by the release of the direct-to-video film Living in Bondage (1992); the industry peaked in the mid-2000s to become the second largest film industry in the world in terms of the number of annual film productions, placing it ahead of the United States and behind only India. It started dominating screens across the African continent, and by extension the Caribbeans and the diaspora, with the movies significantly influencing cultures and the film actors becoming household names across the continent. The boom also led to backlash against Nigerian films in several countries, bordering on theories such as the \"Nigerialization of Africa\".
Since the mid-2000s, during the decline of the video-film era, the Nigerian cinema has undergone some restructuring to promote quality in output and professionalism in the industry, with The Figurine (2009) widely regarded as marking the major turnaround of contemporary Nigerian cinema. There has since been a resurgence in cinema establishments, and a steady return of the cinema culture in Nigeria. As of 2013, Nigerian cinema is rated as the third most valuable film industry in the world based on its worth and revenues generated./ref> with the movies significantly influencing cultures
In 1972, concerned about the influx of foreign culture into Nigeria, the Indigenization Decree was issued by the then head of state Yakubu Gowon; which demands the transfer of ownership of about a total of 300 film theatres in the country from their foreign owners to Nigerians. Also, more Nigerians started playing active roles in cinema establishment as a result of this policy. This transfer also resulted in the emergence of Nigerian playwrights, screenwriters and film producers; popular literature and theatre works were adapted into motion pictures. The oil boom of 1973 through 1978 contributed immensely to the spontaneous boost of the cinema culture in Nigeria. The presence of foreign investments led to the erection of several cinema complexes. In 1976, The 5000-capacity National Arts Theatre, Iganmu was constructed in Lagos. The theatre was incorporated with two cinemas, each having a capacity of over 700 people. At this time cinema business had become a notable employer of many people and also served as an important social function, as Nigerians visited cinemas for relaxation and entertainment purposes. The increased purchasing power in Nigeria also made a wide range of citizens to have disposable income to spend on cinema-going and on home television sets.
As of 2004, at least four to five films were produced every day in Nigeria. Nigeria movies now already dominate television screens across the African continent and by extension, the diaspora. The film actors also became household names across the continent, and the movies have significantly influenced cultures in many African nations; from way of dressing to speech and usage of Nigerian slangs. This was attributed to the fact that Nigerian films told \"relatable\" stories, which made foreign films to \"gather dusts\" on the shelves of video stores, even though they cost much less.
The increased collaboration between Nigeria and Ghana from the mid 2000s led to the resurgence of Ghana's film industry. However, many Ghanaian productions are copyrighted to Nollywood and distributed by Nigerian marketers due to Nigeria's bigger market. Nigerian filmmakers usually feature Ghanaian actors in Nigerian movies as well and that has led to the popularity of Ghanaian actors almost like their Nigerian counterparts. Nigerian actors have also starred in some Ghanaian productions, in order for the film to capture wider audience. Van Vicker, a popular Ghanaian actor, has starred in many Nigerian movies. As a result of these collaborations, Western viewers often confuse Ghanaian movies with Nigerian films and count their sales as one; however, they are two independent industries that sometimes share the colloquial \"Nollywood\".
Since the 2000s, Nigerian movies started to dominate television screens across the African continent and by extension,
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