News Room — Nuel Umahi
Philip Osita sits daily in a cramped editing room in Lagos, south-west Nigeria, pouring over hours of footage for his latest short film. Like many Nigerian indie filmmakers, he has invested his savings and soul into his work, but when it comes to making a return, it’s an uphill battle. Despite the dedicated fans who rave about his work at screenings, monetisation remains a challenge.
“I’ve made a lot of short films, but covering costs is nearly impossible,” he says. Philip’s story is one shared by countless independent filmmakers across Nigeria—creators who have no shortage of talent but face a massive shortage of funding and marketing tools.
Even when these indie films earn praise and recognition, they rarely generate income, leaving filmmakers like Philip struggling to sustain their craft.
Goodness Ezeokafor, a Nigerian software developer and tech entrepreneur who has developed tech solutions for crowdfunding, ticketing, and payments, observes, “I see so many talented individuals pouring their hearts into their craft only to hit a wall when it comes to monetisation.”
This observation led him to explore the creative industry to better understand the challenges that exist in the sector, it also birthed Cirrden; a platform designed to turn fans into financial backers and offer Nigerian filmmakers a sustainable revenue stream.
Cirrden will provide a direct monetisation model specifically tailored for creators like Philip. With subscription and pay-per-view options, filmmakers can monetise exclusive content, like early releases and bonus scenes, and build a dedicated community around their work.
Unlike other streaming platforms like YouTube, which pays $0.01 per view on average, Cirrden’s model allows creators to earn directly from fans without the middleman. This approach leverages the growing global trend of exclusive content, seen in the success of platforms like Patreon and OnlyFans, but with a local twist tailored to the Nigerian market.
Nollywood is estimated to generate billions of dollars annually. According to a report by PwC, Nigeria’s film industry is worth over $6.4 billion, growing annually at a rate of 8.6%. The digital subscription market is also seeing a boom, with Statista reporting that revenue from video streaming in Nigeria is expected to grow by 10% annually, reaching $185 million by 2027.
By tapping into the independent filmmaking segment within this broader creative ecosystem, Cirrden aims to become the go-to platform for monetising premium film content in Nigeria. “With Cirrden, I wanted to create a model that respects the creator’s work and enables fans to support it directly, without complicated processes or platform fees eating away at their income,” Ezeokafor says.
Cirrden aims to drive broad audience engagement through ad-based revenue while honing in on community and exclusivity. With subscription and pay-per-view options, the platform gives fans access to unique content they can’t find elsewhere, creating a direct, meaningful link between creators and their audiences. This model empowers creators to build loyal, financially supportive fanbases, fostering a strong sense of community and ownership.
Additionally, Cirrden’s data-driven insights offer creators the tools to understand audience demographics and engagement without compromising privacy. “We don’t sell data for ads or bombard users with intrusive pop-ups,” Ezeokafor explains. “Instead, we empower creators with the information they need to grow and monetize without losing audience trust.”
To bring Cirrden to life, Ezeokafor plans to launch the platform from his base in Jos, focusing on partnerships with independent filmmakers, film festivals, and creator collectives. Leveraging his connections in the crowdfunding and fintech communities, he’s crafting a strategic marketing plan that includes educational webinars, workshops, and pilot programs tailored for Nigerian filmmakers.
The rollout strategy is straightforward: start locally, build credibility, and scale gradually. Ezeokafor aims to collaborate with institutions like the National Film Institute (NFI) and creative hubs, driving initial awareness and building a community of creators and fans before expanding across African markets.
The platform’s phased launch will offer early adopters exclusive tools and resources to help them monetise their content effectively.
For Philip and countless other independent filmmakers in Nigeria, Cirrden represents a lifeline—an opportunity not only to share their stories but to earn a living from them. By creating a space where fans can directly support creators, Cirrden has the potential to establish a sustainable creative ecosystem, enabling Nigeria’s film industry to flourish beyond Jos and reach a global audience. As Ezeokafor says, “Nigerian filmmakers deserve more than applause—they deserve a platform that champions their creativity and sustains it.”
With the right approach, Cirrden could pave the way for a new era in African filmmaking, where creatives like Philip finally have the resources to make their visions a reality.
Want to be part of Cirrden? Join the waitlist.
