Patrick Lee, former chairman of the Cinema Exhibitors Association of Nigeria (CEAN), has responded to allegations of cinemas promoting certain movies over others. Lee addressed the claims in an interview with Nollywood on Radio.
Allegations of unfair cinema practices emerged in December 2024, with actress Mercy Aigbe accusing some cinemas of discouraging fans from watching her latest film, Thin Line. Actor Femi Branch also claimed that some cinema staff promoted specific films, sometimes by wearing branded merchandise, rather than maintaining neutrality. A reality star who had made a film also alleged that he suffered a significant financial loss due to these practices.
In the interview, Lee asserted that cinemas do not mine value from exhibiting bias. He explained that the prioritisation of certain films is driven by commercial considerations, with potential high-selling movies typically allocated prime screening times and superior facilities. Lee also clarified that cinema staff wearing promotional T-shirts is often misinterpreted as favouritism, when in fact, these items are merely promotional materials supplied by film producers.
Equipment Problems
“In busy periods, cinema equipment may break down,” he said. “When it happens and you are unable to repair, you make a commercial decision. So, the decision is to move the movie with the highest audience to the hall with functioning equipment. Equipment breaking down often happens but the highest-selling film will always get the best facility because we need to take care of our customers.”
He added: “We do not tell customers what movie to watch. In the past, we had customers asking staff about movies to watch because there was not a lot of social media information, but we do not encourage customers to watch a movie over another.”
Another contentious issue was the dynamics between producers and distributors, with some producers alleging unfair treatment and disappointing returns. To clarify the role of distributors, Lee explained, “Distributors act as intermediaries between producers and cinemas. They evaluate movies for suitability based on quality, sound, storyline, and marketability. If a movie meets the standards, the distributor tries to secure a release that is as wide as possible. However, not all films can guarantee full nationwide coverage.”
Revenue Splits
Regarding the revenue-sharing formula, which has often been a source of confusion, Lee said, “The sharing formula is predetermined. Cinemas take a percentage of operational costs, distributors take their share, and the rest goes to the producer. Producers often misunderstand these agreements, especially when they see less-than-expected returns. We encourage producers to work closely with distributors to ensure proper promotion and support.”
Lee called on producers to lodge formal complaints with the relevant authorities, rather than publicly airing their grievances on social media. According to Lee, official complaints facilitate thorough investigations and resolution, whereas social media statements are difficult to substantiate and address.
“In the cinema association, we encourage producers to make an official complaint. Then we can investigate it officially, but when people go on social media to make a statement, we can look into it, but because it is not an official complaint, it is rather challenging to take up,” he said.
Watch the full interview below.
