Nigerian entertainment circles are buzzing following explosive revelations by Yoruba actor Ijoba Lande about what he describes as inadequate compensation from one of Nollywood’s biggest names, Funke Akindele. The actor’s candid video testimony has sparked conversations about fair pay practices in Nigeria’s film industry.
Lande, whose growing presence in Yoruba cinema has earned him recognition among audiences, shared his experience working with the celebrated filmmaker and actress at her Amen Estate production facility. According to the actor, what should have been a career-defining opportunity working with one of Nigeria’s most successful directors instead became a harsh lesson in business negotiation.
There was a time Funke Akindele called me for a movie production at Amen Estate, and we spent one month there,” Lande recounted in the viral video. “I was shocked when she gave me N90,000 after spending one month.”
The amount—equivalent to approximately $180 at current exchange rates—has raised eyebrows throughout the industry, particularly given the duration of the commitment and Akindele’s prominent standing as one of Nollywood’s highest-earning filmmakers. The accusation comes at a time when Akindele has been celebrating unprecedented box office success with her recent productions, several of which have broken national revenue records.
Amen Estate, located in Ibeju Lekki area of Lagos State, has served as the production hub for several of Akindele’s successful projects, including segments of her hit series “Jenifa’s Diary” and various feature films that have dominated Nigerian cinema in recent years.
Beyond sharing his personal experience, Lande used the platform to offer pointed advice to younger actors entering the industry. “I will advise the upcoming actors never to see any top actor as god,” he cautioned, emphasizing the importance of business acumen alongside creative talent.
The actor’s comments reflect a growing sentiment among performers about the need for proper contractual agreements before commencing work. “I have learnt my lessons. I will give my charges to anyone who wants to call me for any job now before going to the location,” Lande stated firmly, suggesting a transformative shift in his professional approach following the experience.
He further revealed that initial excitement about working with such a prominent figure had overshadowed business considerations. When she called me, I was too excited to tell her how much I would charge only to be paid N90k after one month,” he admitted, highlighting a common pitfall for emerging talents when engaging with established industry names.
The controversy touches on broader issues within Nigeria’s evolving entertainment landscape, where formal structures around compensation, contracts, and labor rights remain inconsistent despite the industry’s tremendous growth and international recognition. While top actors and producers can command substantial fees, many supporting cast members and crew often work under less favorable conditions.
Industry analysts note that Nollywood’s unique production model—characterized by rapid filming schedules and typically lower budgets than international counterparts—creates particular challenges around fair compensation. However, expectations have shifted as Nigerian productions increasingly secure international distribution deals and streaming platform acquisitions, bringing more substantial revenue potential.
Funke Akindele, who rose to international prominence through her character Jenifa and has since built a formidable production company, has not yet publicly responded to Lande’s allegations. Known for maintaining a large production output spanning multiple projects simultaneously, Akindele has previously spoken about the financial challenges of sustaining quality production in the Nigerian context.
For many observers, the situation highlights the complexity of Nigeria’s entertainment economy, where massive box office successes coexist with persistent concerns about sustainable business practices and equitable distribution of industry revenues.
Entertainment lawyer Adebayo Omolola, speaking generally about industry practices, noted: “The Nigerian film industry continues to operate largely on informal arrangements rather than standardized contracts with clear terms. This creates vulnerability, particularly for less established talents who may lack negotiation leverage or representation.”
The Guild of Nigerian Actors has previously advocated for minimum pay standards but enforcement remains challenging in an industry still dominated by personal relationships and project-by-project arrangements rather than studio systems with established pay scales.
Lande’s decision to speak publicly represents a growing willingness among younger industry participants to challenge established practices and advocate for more transparent business relationships. Similar controversies have emerged in recent years as social media provides platforms for actors to share experiences previously kept private.
What distinguishes this particular case is the direct naming of one of the industry’s most powerful figures, potentially signaling shifting power dynamics in a business long characterized by deference to established stars and producers.
For aspiring actors, Lande’s experience serves as both cautionary tale and practical guidance about the importance of clear financial discussions before committing to projects, regardless of the prestige associated with particular collaborators.
As the video continues circulating across social media platforms, it has prompted wider discussions about sustainable career development in Nigerian entertainment, with many commenters supporting Lande’s call for more professional business practices while others defend production realities in the still-developing industry.
Whether this public dispute will lead to meaningful changes in how productions structure compensation remains to be seen, but it has certainly amplified conversations about the gap between Nollywood’s growing commercial success and the economic realities faced by many of its working actors.
