Celebrated Nollywood filmmaker and actress Eniola Ajao has taken to social media with unbridled enthusiasm following the star-studded premiere of her latest cinematic venture, “Owambe Thieves.” The acclaimed movie producer shared striking photographs alongside co-star Zubby Michael, proudly declaring their on-screen partnership as “the most-talked-about duo of the season” while announcing the film’s nationwide cinema release date of April 18.
Radiating confidence in her social media announcement, Ajao embraced cultural references with flair, describing herself as “a proper achalugo” alongside Zubby Michael as her “unrivalled Odogwu paranran.” These terms, drawn from Igbo culture, celebrate their powerful on-screen chemistry as characters Cheta and Lola in the highly anticipated production.
“We showed up and showed out for the premiere of my latest project, OWAMBE THIEVES, looking like a million bucks,” Ajao proclaimed to her followers, before tantalizing audiences with promises of unprecedented entertainment. “Eyes haven’t seen and ears haven’t heard the type of entertainment that is about to grace your screens. Get ready for a magical experience.”
The celebratory post comes amid swirling conversations about the dramatic incidents that have seemingly become a trademark of Ajao’s high-profile premieres. Industry observers have noted a pattern of headline-grabbing controversies that coincide with her major film launches, raising questions about whether these incidents are orchestrated publicity strategies or genuine tensions bubbling to the surface at these prestigious gatherings.
Yesterday’s “Owambe Thieves” premiere has already generated significant buzz across social media platforms after videos captured what appeared to be a tense exchange between prominent actresses Eniola Badmus and Laide Bakare. While the full context remains contested, Bakare has reportedly claimed that the confrontation erupted after Badmus responded negatively to her friendly overtures.
This latest incident bears striking similarities to controversies that surrounded Ajao’s cinema debut last year. When she premiered “Ajakaju: Beast of Two Worlds” in 2024, the event sparked considerable debate after crossdresser Idris Okuneye, widely known as Bobrisky, was awarded the title of “best-dressed female” at the ceremony.
The decision provoked immediate backlash from female attendees who had invested considerable resources into their premiere appearances, with actress Dayo Amusa publicly criticizing actor-producer Femi Adebayo for presenting the controversial award to Bobrisky. What Amusa later claimed was intended as good-natured ribbing quickly escalated into a more significant industry disagreement that dominated entertainment headlines.
Film industry analysts have begun questioning whether these recurring controversies might represent more than coincidental drama. “There’s a fascinating pattern developing where Ajao’s premieres become cultural moments not just for the films themselves, but for the industry interactions they spotlight,” noted cultural commentator Adebola Jinadu. “Whether intentional or not, these events are becoming known as occasions where industry dynamics play out in public view.”
The “Owambe Thieves” project itself appears to be an ambitious production that pairs Ajao with Zubby Michael, one of Nollywood’s most bankable actors. Their collaboration represents a significant cross-pollination between different sectors of Nigeria’s film industry, with Michael having established himself as a powerhouse in the eastern Nigerian cinema circuit while Ajao has risen to prominence primarily through Yoruba cinema before expanding into mainstream English-language productions.
The film’s title, “Owambe Thieves,” hints at a narrative that likely explores Nigeria’s elaborate celebration culture – “owambe” being a colloquial term for lavish Nigerian parties – potentially with a comedic or crime-centered twist. This culturally specific subject matter could resonate strongly with Nigerian audiences familiar with the social dynamics and excesses sometimes associated with these celebrations.
For Ajao, whose production portfolio has expanded significantly in recent years, the film represents another milestone in her evolution from actress to influential filmmaker and industry power player. Her productions have increasingly featured high production values and strategic casting decisions that blend different audience demographics across Nigeria’s diverse cinema landscape.
The recurring drama at her premieres, whether coincidental or calculated, certainly hasn’t harmed the publicity surrounding her projects. Each controversy generates days of social media engagement, trending hashtags, and entertainment news coverage – extending the promotional window for the films themselves far beyond traditional marketing timelines.
Industry veterans have observed how these moments of tension reveal the complex interpersonal relationships that exist beneath Nollywood’s glamorous exterior. The Nigerian film industry, despite its global reach and growing professionalization, remains interconnected through personal relationships, with many actors maintaining decades-long professional associations across countless productions.
When tensions surface at high-profile events like Ajao’s premieres, they often reflect longer-standing industry dynamics rather than isolated incidents. The public nature of these disagreements – captured on smartphones and rapidly disseminated across social platforms – transforms private industry matters into public entertainment, creating a meta-narrative that runs parallel to the films being celebrated.
As “Owambe Thieves” prepares for its nationwide release, the attention generated by both the film itself and the accompanying premiere drama will likely translate into significant opening weekend interest. Cinema operators across Nigeria are anticipating strong attendance for a production that has already captured public imagination through its star power and the surrounding conversations.
For audiences, the film promises to deliver the entertainment value that has become associated with Ajao’s productions. Her confident declaration that “eyes haven’t seen and ears haven’t heard the type of entertainment that is about to grace your screens” sets high expectations for a production that aims to stand out in Nigeria’s increasingly competitive cinema landscape.
Whether “Owambe Thieves” will be remembered more for its narrative merits or the dramatic premiere that preceded its release remains to be seen. What’s certain is that Eniola Ajao has once again demonstrated her knack for creating cultural moments that extend far beyond the boundaries of traditional film promotion, cementing her reputation as not just a filmmaker but a creator of conversation-starting industry events.
