With an overwhelming array of films to choose from, there are a number of standout films that have risen above the rest, leaving indelible marks on the industry and solidifying Nollywood’s global reputation.
By Joseph Jonathan
The Nigerian film industry, popularly called Nollywood, has experienced remarkable growth since its humble beginnings. Today, it has become the second-largest film industry in the world, producing over 2,500 films per year. Before the advent of “Afrobeats to the world”, Nollywood was Nigeria’s biggest cultural export, captivating audiences across the globe—especially in Africa—by mirroring the nation’s struggles, triumphs, and vibrant culture.
With an overwhelming array of films to choose from, there are a number of standout films that have risen above the rest, leaving indelible marks on the industry and solidifying Nollywood’s global reputation.
In this listicle, we bring you ten Nollywood films that have significantly shaped the growth, evolution, and global recognition of Nigerian cinema, highlighting their cultural impact and lasting legacy in the industry.
Ps: This list is presented in no particular order.
Living in Bondage (1992)

There would probably be no Nollywood (as we know it today) without the Chris Obi Rapu-directed ‘90s classic. Living in Bondage is a supernatural thriller about a man, Andy Okeke (Kenneth Okonkwo), who sacrifices his wife for wealth and faces dire consequences.
It is widely regarded as the film that birthed Nollywood, as its success laid the foundation for the direct-to-video film market in Nigeria and established the VHS as a viable medium for filmmaking at a time when celluloid proved to be a huge financial constraint for local filmmakers.
As far as legacies go, Living in Bondage has earned its place in Nigerian film history. The film’s exploration of greed, morality, and the supernatural resonated deeply with Nigerian audiences, particularly at a time when economic hardship was rampant—and still is today. It also set the template for the supernatural thriller (occultic) genre and served as a launchpad for Nollywood stars like Kenneth Okonkwo, whom many still know by the name of his character in the film: Andy.
Glamour Girls (1994)

When Living in Bondage (1992) was released, it was the first Nigerian film to be subtitled in English, but producer Kenneth Nnebue wasn’t satisfied. He went on to produce Glamour Girls, the first Nollywood film with its dialogue entirely in English. The film tells the story of a group of women whose craving for money, power, and sex in the cosmopolitan city of Lagos leads them to orchestrate a high-profile prostitution ring.
Glamour Girls takes a daring look into the lives of high-society women, exploring themes of wealth, power, and sexual independence. Speaking about the film, historian Jonathan Haynes said, “Glamour girls (or senior girls) are professional women living outside of patriarchal control—scandalous figures in the Nigerian social imagination, associated with prostitution and danger.”
Glamour Girls helped define Nollywood’s early focus on morality tales wrapped in glitz and scandal. It also inspired many films centred on the clash between traditional values and modern lifestyles in Nigeria.
Osuofia in London (2003)

Kingsley Ogoro’s comedy flick Osuofia in London follows the story of its titular character, Osuofia (Nkem Owoh), a Nigerian villager who travels to London to claim an inheritance left by his late brother. Infused with humour, the film examines the clash between traditional African values and Western culture, highlighting the experiences of Nigerians (and Africans) in the diaspora.
It became an instant commercial success, arguably marking Nollywood’s first international collaboration. Osuofia in London demonstrated Nollywood’s ability to mix local humour with global settings and sparked a wave of successful comedies, with many attempting to replicate its success through similar titles and storylines.
The Figurine (2009)

Kunle Afolayan’s supernatural thriller, The Figurine, is a modern classic for a number of reasons. The film tells the story of two friends whose lives are altered by a mystical sculpture from the goddess, Araromire, which grants them seven years of good fortune followed by seven years of bad luck.
At a time when Nigerian cinemas were just regaining functionality, The Figurine was Nollywood’s first major big-budget production and was released to both critical and commercial acclaim. It helped restore Nigerian filmmakers’ trust in cinemas as a viable means of distribution, leading to a resurgence of films being released in cinemas afterwards.
Since its release, The Figurine has remained the subject of scholarly research, leading to the publication of a book titled Auteuring Nollywood: Critical Perspectives on The Figurine in 2014. This was the first book in the history of Nigerian cinema dedicated solely to the oeuvre of a single Nigerian film director, featuring scholarly essays that explore the thematic focus and cinematic style employed in The Figurine.
Lionheart (2018)

Genevieve Nnaji’s directorial debut may be six years old, but almost everyone remembers it like it was yesterday because of the special place it holds in Nigerian film history.
Lionheart follows Adaeze Obiagu (Nnaji) as she navigates family dynamics, gender stereotypes, and corporate challenges when her ailing father, Chief Ernest Obiagu (Pete Edochie), appoints her uncle, Godswill (Nkem Owoh), to lead the company. This forces them to collaborate to save the business from debt and a hostile takeover.
It garnered acclaim for presenting a nuanced and balanced portrayal of feminism, seamlessly integrating empowering themes without overshadowing the story. As Nigeria’s first Netflix original film, it paved the way for major investment in the industry by streaming giants like Netflix, Prime Video, and Showmax.
The Wedding Party (2016)

Kemi Adetiba’s romantic comedy follows the chaotic and comedic events surrounding the lavish wedding of Dunni (Adesua Etomi) and Dozie (Bankole Wellington), as their families’ vastly different cultures and social statuses threaten to tear them apart.
At a time when Nigerians had become disinterested in local films at the cinemas, The Wedding Party became an instant box office hit, grossing ₦453 million. It was the first Nollywood film to hit the ₦400 million mark and remained the highest-grossing Nollywood film until 2021.
The film’s portrayal of Lagos high society, opulent weddings, complex family dynamics, and the delicate cultural and social dichotomy prevalent in Nigeria resonated profoundly with audiences, spearheading a new wave of Nollywood romantic comedies that continue to be fan favourites to this day.
King of Boys (2018)

This is the second film directed by Kemi Adetiba on this list, and for good reason. King of Boys follows the relentless pursuit of power by Alhaja Eniola Salami (Sola Sobowale), a ruthless businesswoman and philanthropist whose rising political ambitions force her to navigate treacherous alliances and uncertain loyalties.
Given that King of Boys depicts the dark underbelly of politics and crime in Nigeria, it paved the way for the recent rise of the political crime thriller genre, which we’ve enjoyed in films like Gangs of Lagos (2023), Brotherhood (2022), The Black Book (2023), and others.
As far as cultural impact goes, the film was femme-centric and praised for portraying women differently with its anti-hero, Salami becoming one of Nollywood’s most iconic characters.
The Milkmaid (2020)

Set in a remote village in Sub-Saharan Africa, the film tells the story of Aisha (Anthonieta Kalunta), a young Fulani milkmaid who confronts religious extremists in her quest to locate her missing sister. However, every effort to recapture her disrupted past seems futile.
Directed by Desmond Ovbiagele, the film remains relevant for its heartfelt and thought-provoking portrayal of the experiences of women caught in the midst of violent conflicts. It sheds light on the devastating consequences of extremism on the safety, freedom, and empowerment of women and girls.
Such was the success of the film that it garnered eight nominations at the 16th African Movie Academy Awards (AMAA), ultimately winning five of them. It was also the first Nigerian film to be accepted as a submission for Best International Feature Film at the Oscars.
Eyimofe (2020)

The ‘Japa’ syndrome—the mass emigration of Nigerians, particularly young people, in search of greener pastures—remains a constant theme in Nollywood films. However, one film that stands out from the pack is Eyimofe.
Directed by twin brothers Arie and Chuko Esiri, Eyimofe follows the intersecting stories of Mofe (Jude Akuwudike) and Rosa (Temi Ami-Williams), two Nigerians driven by hope for a better life abroad but confronted with harsh realities, personal losses, and difficult choices that challenge their dreams of escape to Spain and Italy, respectively.
Unlike its main characters, who struggle in their quest to travel abroad, the film has traveled across the globe with remarkable ease, screening at film festivals in South Africa, the Netherlands, the US, Italy, Poland, the UK, Spain, Brazil, Portugal, the UAE, Canada, Austria, China, Greece, Egypt, Germany, and India.
Eyimofe has earned its place as one of the pioneers of Nollywood’s recent globe-trotting success and remains the only Nigerian film on the Criterion Collection list.
Mami Wata (2023)

One word to describe C.J. “Fiery” Obasi’s black-and-white fantasy thriller is “experimental.” For one, the film is shot in black-and-white, a stark contrast to the shiny, colourful visuals typical of Nollywood. However, this experiment proved to be a phenomenal success, garnering critical acclaim from across the globe.
Mami Wata, inspired by West African folklore, tells the story of two sisters, Prisca (Evelyne Ily) and Zinwe (Uzoamaka Aniunoh), who strive to reunify their coastal village of Iyi, divided between traditionalists loyal to the water goddess and rebels seeking modernisation. The film poignantly explores themes of faith, power, and community.
While rooted in folklore, the narrative subtly infuses political undertones and offers a sardonic perspective on feminine versus masculine power dynamics.
Aside from picking up awards at prestigious film festivals like the Sundance Film Festival and FESPACO, Mami Wata was selected as Nigeria’s third entry for Best International Feature Film at the Oscars. With this film, the world was put on notice that Nollywood indeed has the capacity to tell compelling stories and tell them well.
Joseph Jonathan is a historian who seeks to understand how film shapes our cultural identity as a people. He believes that history is more about the future than the past. When he’s not writing about film, you can catch him listening to music or discussing politics. He tweets @JosieJp3.