Nigeria’s filmmakers are sounding a familiar but increasingly urgent alarm. Digital piracy, they say, is steadily eroding the foundations of the country’s film industry, draining revenue, discouraging investment and threatening the survival of creative work that takes years to build.

The warning came in Abuja during a screening of The Book of Nehemiah, an Afrobeat musical film produced by AfroNerd Media, where filmmakers and industry stakeholders described online piracy as a more dangerous menace than the era of compact discs and DVDs. Unlike physical piracy, which left trails that could be traced, digital piracy now operates quietly and anonymously, spreading films across multiple platforms within days of release.

Award-winning cinematographer, director and producer, Paul Apel Papel, described piracy as one of the most crippling challenges facing Nigerian filmmakers today. He revealed that his film Eagle Wings is currently circulating illegally online, despite efforts to protect it.

“Digital piracy is a major challenge, and we have been handicapped for many years. As I speak to you, my film is pirated. People show me links on their phones and different platforms where it is being streamed without authorisation,” Papel said.

He explained that repeated takedown attempts often feel futile, as pirated versions reappear almost immediately after being removed.

“I signed up with a company in the United States, and anytime I saw my film on YouTube, I blocked it. I kept blocking it until I got tired. Once a film is released on legitimate platforms like Amazon or Netflix, pirates somehow get clean copies and spread them everywhere. You can find the same film on 10 or 18 illegal sites,” he added.

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According to Papel, the shift from physical piracy to online distribution has made enforcement far more complex, as perpetrators now operate from private homes, hidden behind the anonymity of the internet.

“When it was DVD, you could trace the quality and sometimes even the source. But now people are watching on their phones in their houses. How do you track that? The internet is porous,” he said.

He called on the Nigerian Communications Commission (NCC) to take a more active role in combating piracy, arguing that as the regulator of the country’s telecommunications infrastructure, it has the authority to block offending platforms and coordinate a structured national response.

“If NCC can block certain sites or content, then they can also block pirated films. What we need is sensitisation and a clear reporting channel. If producers can report piracy directly and illegal platforms are blocked, it will go a long way,” Papel said.

He also proposed a coordinated release framework in which films are issued unique digital identifiers in collaboration with regulators, making unauthorised copies easier to detect and remove.

A representative of AfroNerd Media, Ugboh Ujah, echoed similar concerns, describing The Book of Nehemiah as a locally grounded Nigerian story whose impact is threatened by piracy.

He said the financial burden of producing films is becoming harder to justify when illegal distribution wipes out potential returns.

“One of the biggest issues in our industry is digital piracy. Producers spend millions of naira to bring stories to life, only for unscrupulous individuals to share them online for free and profit from other people’s sweat and hard work,” Ujah said.

He called for stricter laws and stiffer penalties, arguing that intellectual property theft should be treated with the seriousness it deserves.

“The government should impose strong laws with serious consequences, including jail terms. Intellectual property theft should be treated with the seriousness it deserves. People must be rewarded for their hard work,” he added.

Despite the challenges, Ujah said Nigerian creatives remain committed to telling stories that inspire, educate and offer solutions to national issues.

“Movies and music are universal languages. They shape minds, inspire people, and can even help leaders think through complex challenges. This film is not anti-government; it is pro-solution. We are offering ideas that can help move the country forward,” he said.

President and co-executive producer at AfroNerd Media, Kenneth Okwu, said The Book of Nehemiah was conceived as more than entertainment, but as a tool for national reflection and dialogue.

“The movie is part of a broader conversation. It profiles problems, but it also suggests potential solutions. Beyond entertainment, it is meant to educate and stimulate dialogue,” Okwu said.

He described piracy as one of the gravest threats to the survival of the creative sector, lamenting that filmmakers who invest significant time, money and energy often see their work freely circulated online shortly after release.

“Piracy is crumbling the industry. People steal cars or phones and are punished, but pirates hide behind the internet and go scot-free. It is destroying livelihoods,” he said.

Okwu also highlighted regulatory and bureaucratic challenges faced during production, including last-minute disruptions to approved shoots that resulted in financial losses.

“The government needs to do better in supporting creatives. When approvals are given and suddenly revoked, millions are lost in rented equipment and logistics. That discourages serious filmmaking,” he added.

For Nigeria’s filmmakers, the message is clear. Without stronger enforcement, coordinated regulation and political will, digital piracy will continue to undercut creativity, weaken investment and threaten the long-term sustainability of one of the country’s most influential cultural industries.

Cynthia Nwanonyiri