A touching moment of solidarity between two of Nigeria’s most influential female filmmakers captured attention this weekend as veteran actress and box office record-holder Funke Akindele publicly celebrated colleague Iyabo Ojo’s latest artistic achievement. The heartfelt exchange unfolded during the prestigious premiere of “Labake Olododo,” Ojo’s groundbreaking directorial debut targeted for theatrical release.
Sunday’s star-studded event at the upscale Imax Cinemas in Lekki, Lagos, marked a crucial professional milestone for Ojo, who has steadily built her reputation as both performer and producer throughout her career. The premiere represented her formal entry into Nigeria’s competitive theatrical market, a space where Akindele has established unprecedented commercial dominance in recent years.
In footage that quickly circulated across social media platforms, Akindele approached Ojo with unmistakable warmth and professional admiration. You look so stunning,” Akindele remarked, before shifting focus to the artistic merits of the production itself. “I love the background, visuals, and everything else. It’s beautiful.”
The significance of this endorsement resonated deeply within industry circles, given Akindele’s unparalleled credentials as Nigeria’s most commercially successful filmmaker. Her 2022 release “Battle on Buka Street” shattered domestic box office records, while her recent productions have consistently demonstrated her keen understanding of audience preferences and market dynamics.
“Congratulations, and I wish you all the best,” Akindele continued in her public message to Ojo. “It’s your time to shine. Go and break it. We will keep pushing.” The choice of words—particularly “we will keep pushing”—struck many observers as a meaningful acknowledgment of the collective advancement of female voices within Nigeria’s evolving film landscape.
Industry analysts note that this public display of mutual respect between two powerhouse personalities represents more than mere professional courtesy. Both women have navigated challenging personal and professional journeys to establish their current positions of influence within Nollywood, overcoming various obstacles common to women in the entertainment industry.
This interaction exemplifies the changing dynamics within Nigeria’s creative sectors,” notes cultural commentator Adebola Adewole. We’re witnessing an important shift from perceived competition toward conscious collaboration among female industry leaders, which ultimately strengthens the entire ecosystem.
The premiere of “Labake Olododo” arrives at a pivotal moment for Nigerian cinema, which continues expanding its production capabilities and narrative ambitions despite persistent economic challenges. Ojo’s decision to pursue theatrical distribution reflects growing confidence in domestic audience support for technically ambitious Nigerian productions that preserve cultural authenticity while meeting international technical standards.
For Ojo, whose career spans nearly two decades across various entertainment platforms, this theatrical debut represents a calculated professional evolution. Having built substantial following through television, direct-to-video releases, and more recently, digital platforms, her venture into cinema distribution signals confidence in both her artistic vision and commercial viability.
The visual elements specifically praised by Akindele suggest “Labake Olododo” may represent the continued technical advancement characterizing Nigeria’s most ambitious recent productions. As streaming platforms increasingly seek exclusive content from African creators, Nigerian filmmakers have responded by elevating production values and visual storytelling techniques.
Beyond the immediate significance for both women’s careers, this public moment of mutual respect addresses persistent misconceptions about relationships between successful women in Nigerian entertainment. Media narratives have occasionally emphasized supposed rivalries over instances of professional support, creating potentially distorted perceptions of industry dynamics.
There’s long been this harmful narrative of inevitable conflict between successful women in our industry,” explains entertainment journalist Funmi Oladipo. Moments like this help correct that perception by demonstrating how established figures can genuinely celebrate emerging voices and new achievements. The industry benefits when success is viewed as collective rather than zero-sum.
Akindele’s specific encouragement—”It’s your time to shine”—carries particular weight coming from someone who has personally navigated both critical acclaim and commercial challenges throughout her multifaceted career. Having successfully pivoted between acting, producing and directing roles, Akindele has demonstrated remarkable resilience during professional transitions similar to what Ojo now undertakes.
For audiences anticipating “Labake Olododo,” Akindele’s enthusiastic endorsement provides additional incentive to support the theatrical release. Her demonstrated understanding of commercial filmmaking lends credibility to her artistic assessment, potentially influencing viewers considering their entertainment options in Nigeria’s increasingly competitive media landscape.
The technical elements praised in Akindele’s comments suggest “Labake Olododo” may incorporate the visual sophistication increasingly expected by Nigerian audiences exposed to international content through streaming platforms. This evolving viewer expectation has pushed domestic productions toward higher technical standards while maintaining the cultural specificity that distinguishes Nigerian storytelling.
Film industry researcher Tunde Adebimpe contextualizes this development: “What we’re witnessing is the natural maturation of Nigerian cinema, where filmmakers who built foundations in earlier production environments are now leveraging expanded resources and technical knowledge to create visually compelling work that honors cultural authenticity while meeting international standards.
For aspiring filmmakers observing from the periphery, this public interaction between established industry figures offers valuable demonstration of professional etiquette and mutual support. The willingness of Akindele—at the height of her commercial influence—to publicly celebrate another creator’s achievement models constructive industry relationships that strengthen the collective ecosystem.
As “Labake Olododo” prepares for wider release, Ojo joins the growing ranks of female Nigerian filmmakers challenging outdated perceptions about women’s roles within the industry. Her progression from performer to creator and now theatrical director reflects broader transformation within Nollywood’s power structures and creative pipeline.
Whether “Labake Olododo” achieves commercial success comparable to Akindele’s recent blockbusters remains to be seen, but the collegial support demonstrated during this premiere suggests that Nigeria’s film community increasingly recognizes that individual achievements ultimately advance collective possibilities within the industry.
With her heartfelt encouragement—”Go and break it”—Akindele not only affirms Ojo’s artistic vision but reinforces the understanding that Nigerian cinema benefits when its leading voices amplify rather than diminish one another. As both women continue shaping Nollywood’s evolving identity, their mutual respect demonstrates how competition and collaboration can productively coexist within creative industries.
