Nollywood, Tourism & Influence: Time to Merge Cinema with Nigeria’s Economic Growth Strategy

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For decades, the conversation surrounding Nigerian tourism has followed a predictable script: build better roads, simplify visa processes, and fix the power grid. While these infrastructure pillars are undeniably vital, we have been staring past a Trojan horse of cultural influence that is already parked in the living rooms of millions worldwide.

Elizabeth Agboola, the founder and CEO of NTT Global Destinations, has spent years navigating the intersection of travel, diplomacy, and culture. She suggests that while Nigeria has been looking for a key to unlock tourism, the door has been wide open all along, propped open by the flickering lights of a cinema projector.

Elizabeth’s realisation didn’t start in Lagos but in Seoul. Like millions of others globally, she found herself enamoured with South Korea long before she ever booked a flight to Incheon. Through the lens of K-dramas, she learnt the cadence of the language, the etiquette of the dinner table, and the neon allure of the streets.

“When I finally walked into a Korean cinema to watch a movie in Korea, it felt strangely emotional,” Elizabeth recalls. “It wasn’t just a movie; it was the completion of a cultural story I had been following from afar.”

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That moment sparked a fundamental question: Why isn’t cinema intentionally part of Nigeria’s tourism experience? South Korea didn’t become a global tourism powerhouse by accident. It was a calculated “Hallyu” (Korean Wave) strategy in which film and music served as the vanguard for travel. Nigeria, possessing the second-largest film industry in the world by volume, sits on a similar goldmine. Yet, the Nollywood experience remains confined mainly to screens, failing to transition into the physical world of travel and hospitality.

 

Nollywood as National Identity in Motion

Nigeria’s film industry is no longer just a local hustle. In 2026, it is a high-definition, globally distributed powerhouse. It performs crucial tasks for national branding that no government PR campaign could ever accomplish.

Reducing Cultural Distance: Travel is often inhibited by the unknown. Nollywood successfully bridges this gap. When a viewer in Barbados or Birmingham watches a Nigerian film, the scary or unknown elements of Africa are replaced by familiar tropes: the overbearing mother, the ambitious youth, the vibrant wedding, and the rhythmic slang. Film fosters empathy, which paves the way for the desire to travel.

Softening the National Brand: News headlines often focus on the challenges of a developing nation. Cinema, however, focuses on the souls of the people. It showcases the luxury of Banana Island, the grit of mainland Lagos, and the majestic landscapes of the Middle Belt. It offers a counternarrative that softens the brand, turning “country of concern” into “country of curiosity.”

Creating Pre-Travel Familiarity: By the time a “December Returnee” or a first-time tourist lands at Murtala Muhammed International Airport, they already know what a “Danfo” looks like. They know the significance of “Jollof Rice” and the energy of a Lagos party. Nollywood has already done the “pre-travel” work. The tragedy, Elizabeth notes, is that our tourism strategy rarely completes the loop.

 

The Disconnect: Why Systems Lag Behind Culture

Nigeria is in a unique position where its creative sector is more globally visible than its tourism sector. Currently, these two industries operate in silos. The filmmaker is worried about box office hits; the tour operator is concerned about hotel bookings. Neither is talking to the other about how a hit movie can fill those hotel rooms.

“In a country where culture leads before policy ever catches up, the present is a missed opportunity we can no longer afford to overlook,” says Elizabeth.

We see tourists arriving for “Detty December”, fuelled by Afrobeats and film-inspired aesthetics. Yet, they find no curated “Nollywood tours.” There are no official maps to the iconic houses used in blockbuster films, and there are no immersive cinema experiences explicitly designed for inbound travellers. We have the content, but we lack the productisation.

 

Cinema as a Tourism Product: What It Could Look Like

Imagine offering a Cinematic Entry package to a tourist arriving in Lagos. Instead of just a taxi to the hotel, their journey includes:

 Curated Cinema Nights: A private screening of a culturally significant film that explains the nuances of the city they just entered.

 Location Pilgrimages: Guided tours to the neighbourhoods where iconic scenes from The Wedding Party or King of Boys were filmed.

 The “Nollywood Table”: Dining experiences that recreate the meals seen on screen, perhaps even hosted by actors or set designers.

 Merchandising the Dream: high-end fashion pop-ups where travellers can buy the “Agbadas” and “Geles” they admired in their favourite movies.

This turns a passive viewer into an active participant. Cinema becomes the entry point, leading to experience, fostering attachment, and ultimately resulting in repeat visits.

 

The Global Success Stories

Nigeria isn’t reinventing the wheel; it’s merely failing to implement it effectively. Film tourism has a solid economic foundation:

New Zealand: The Lord of the Rings transformed a quiet island nation into “Middle-earth”, contributing billions to its economy.

The UK: The “Harry Potter effect” continues to draw millions to London and the Scottish Highlands.

India: Bollywood filming locations in Switzerland and Rajasthan are major draws for domestic and international travellers.

Nigeria has a more organic advantage: our “locations” are often our vibrant cities and cultural festivals, which are already operational. We don’t need to build hobbit holes; we just need to point the way to the culture we already live in.

Elizabeth Agboola proposes a “Strategic Partnership” to establish a bridge between the creative economy and the tourism board.

Cinema in Official Itineraries: Government and private tour operators must include film screenings as a standard part of the tourist welcome.

State Tourism Partnerships: States such as Enugu, Lagos, and Kano, all major filming hubs, should offer tax incentives for films that feature specific tourist landmarks.

Embassy Collaborations: Nigerian missions abroad should host “Nollywood Nights”, not just as entertainment, but as a “Travel Fair” to convert cultural interest into visa applications.

The Diaspora Link: Using film to target the “Returnee” market, showing them a modern, evolving Nigeria that they want to invest in and explore.

 

Final Thought: Storytelling is the Heartbeat of Demand

“Tourism is not just about places,” Elizabeth concludes. “Tourism is about stories.”

In 2026, Nigeria finds itself at a pivotal juncture. We can continue to market infrastructure, or we can begin to sell our souls. Nollywood tells Nigeria’s story every single day, loudly, proudly, and globally. It is time to treat our filmmakers not just as entertainers, but as the architects of our national identity.

When we intentionally bring cinema into the tourism equation, we aren’t just selling a flight or a hotel room. We are offering a seat in a narrative that the world is eagerly anticipating.

 

Frequently Asked Questions (FAQs)

1. What is Film Tourism?

Film tourism (or cinema tourism) is a travel trend where people visit specific locations because they saw them in a movie or television show. It includes visiting sets, filming locations, or attending film festivals.

2. How does Nollywood specifically help Nigeria’s image?

Nollywood provides a “human” look at Nigeria. It showcases the country’s fashion, humour, and family values, helping counter negative stereotypes often found in the international news media.

3. Who is Elizabeth Agboola?

Elizabeth Agboola is a celebrity in the Nigerian travel and tourism industry. She is the founder and CEO of NTT Global Destinations and is a vocal advocate for using “soft power” (culture, film, and music) to drive economic growth.

4. Is Nigeria safe for film tourists?

Despite the challenges, numerous film tourism hubs such as Lagos and Enugu receive frequent visits. Strategic film tourism involves curated, guided experiences that ensure travellers’ safety while showcasing the best in the culture.

5. How can the Nigerian government support this?

The government can help by creating a “Film Tourism Desk” that connects the Ministry of Tourism with the Nigerian Film Corporation to coordinate marketing, provide incentives for location filming, and ease the filming permit process.