Prominent Nollywood actress and filmmaker Mary Remmy Njoku has ignited a crucial industry conversation by publicly questioning the tangible benefits of membership in Nigeria’s film industry guilds and associations. The ROK Studios executive, who is married to Iroko TV founder Jason Njoku, took to Instagram to share her struggle in providing a satisfactory answer when approached by an emerging filmmaker.
“A budding filmmaker asked me, ‘What are the benefits of being part of Nollywood guilds and associations?’ And I’m struggling to give a clear answer,” Njoku wrote in her Instagram story. Seeking to crowd-source insights, she added, “Can someone help outline the benefits with supporting evidence?
Her candid admission has struck a chord within Nigeria’s film community, where numerous professional guilds exist to represent different sectors of the industry, including the Directors Guild of Nigeria (DGN), Actors Guild of Nigeria (AGN), and the Association of Movie Producers (AMP), among others.
Njoku’s question touches on a long-simmering issue within Africa’s largest film industry, where membership in these professional bodies often comes with registration fees, dues, and time commitments. For early-career filmmakers operating on tight budgets, these financial obligations can pose significant barriers to entry, making the value proposition of guild membership a critical consideration.
Industry watchers note that Njoku’s public questioning carries particular weight given her status as both a successful actress and a key executive at ROK Studios, a production powerhouse that has become one of Nollywood’s most prolific content creators. Under her leadership, ROK has produced hundreds of movies and television series, providing opportunities for countless actors, directors, and crew members.
“When someone of Mary Njoku’s stature openly questions the value of guild membership, it forces a necessary reckoning within these organizations,” explains Emmanuel Okorie, a Lagos-based film industry analyst. These guilds need to clearly articulate their value proposition, especially to the next generation of filmmakers who have more independent pathways to production and distribution than previous generations.
Historically, film guilds in Nigeria have cited numerous benefits for members, including networking opportunities, training workshops, collective bargaining power, and welfare support during emergencies. However, critics have sometimes questioned the consistency and accessibility of these benefits, particularly for members outside the major production hubs of Lagos and Asaba.
Several industry veterans have responded to Njoku’s query by sharing varied perspectives. Veteran actor Kanayo O. Kanayo recently emphasized the importance of guild membership for professional legitimacy, stating in an unrelated interview, “Being part of the guild gives you recognition as a professional and creates pathways to valuable industry relationships.”
However, others have echoed Njoku’s uncertainty. Rising director Adaora Nwandu commented on a similar industry forum last month, “I’ve been a guild member for three years and have yet to see any direct benefit that justifies the annual dues. For independent filmmakers, it often feels like an unnecessary expense.”
The conversation sparked by Njoku arrives at a critical juncture for Nollywood, which continues to undergo significant transformation with the arrival of global streaming platforms and increasing international co-productions. These developments have created alternative routes to industry success that don’t necessarily require traditional guild connections.
Some observers suggest that Nollywood guilds need to modernize their offerings to remain relevant. Today’s filmmakers need more than just a membership card,” notes film educator Funmi Adeniyi. “They need legal support with contracts, intellectual property protection, distribution guidance, and access to international markets. Guilds that can deliver these concrete benefits will thrive; those that cannot will struggle to attract and retain members.”
The discussion also raises important questions about industry governance. Nollywood has sometimes faced criticism for fragmentation and lack of standardized practices, areas where strong guild leadership could potentially drive improvement. However, periodic leadership disputes within some guilds have occasionally undermined their effectiveness as unified voices for their members.
For early-career professionals like the unnamed filmmaker who approached Njoku, the decision about guild membership represents a significant career calculation. With limited resources to invest, many young filmmakers must carefully weigh whether guild dues represent a valuable investment or funds better directed toward equipment, crew, or marketing.
Mary Njoku’s willingness to publicly acknowledge her uncertainty—rather than offering a standard, perhaps unconvincing endorsement of guild membership—demonstrates the authenticity that has made her a respected voice in the industry. By posing this question to her substantial following, she has created space for a constructive industry-wide conversation.
As Nollywood continues its trajectory toward greater global recognition and commercial success, the role of its professional guilds remains uncertain. Will they evolve into powerful advocates providing concrete value to members across career stages, or will they struggle to justify their relevance in an increasingly digital and globally connected industry landscape?
The responses to Njoku’s query may provide valuable insights for both guild leadership and emerging filmmakers navigating their career paths in Africa’s most prolific film industry. Whatever the outcome, her willingness to pose difficult questions reflects the candid leadership approach that has helped establish her as one of Nollywood’s most influential executives.
For now, the budding filmmaker who sparked this discussion with their question to Njoku might still be awaiting a clear answer—but they’ve inadvertently initiated an important conversation about the future of professional organization in Nigeria’s evolving film industry.
