“They Are Ahead of Us O” – Actor Pere Egbi Sparks Debate as He Hails South Africa’s Movie Industry Over Nollywood

Nollywood star and reality TV personality Pere Egbi has stirred conversations across social media after boldly declaring that South Africa’s film industry is far ahead of Nigeria’s Nollywood in terms of storytelling, production quality, filmmaking techniques, and professional work ethics. The actor, who made his opinion public in a candid post on social media, stated that while Nollywood has made remarkable strides in global recognition and audience reach, South Africa has already surpassed it in various areas of creativity and structure, highlighting the urgent need for collaboration if Nigeria wants to remain relevant on the international stage. His statement, which has since gone viral, has triggered heated discussions among filmmakers, actors, critics, and fans, with many praising his honesty while others expressed disappointment that he would publicly downplay the progress of Nollywood.

“They are ahead of us o,” Pere Egbi wrote bluntly, tagging the South African movie industry as superior to Nollywood. According to him, South Africa has mastered the art of weaving compelling narratives with world-class cinematography and professionalism, whereas Nollywood is still grappling with inconsistencies in storytelling, production flaws, and the lack of unified structures that support long-term industry growth. Pere was quick to emphasize that his comments were not an attack on his Nigerian colleagues but rather a call to action, urging Nollywood stakeholders to collaborate with South African filmmakers in order to elevate the standards of African cinema as a whole.

For many who follow Nollywood closely, Pere’s words did not come as a surprise. In recent years, South Africa’s film industry has gained international recognition for its cutting-edge projects, visually striking productions, and government-backed film structures. Movies and series shot in South Africa have found global platforms on Netflix, Showmax, and other international streaming services, bringing with them not just entertainment but also critical acclaim. On the other hand, Nollywood, despite being celebrated as the second-largest film industry in the world by volume, continues to face criticism for recycling plots, struggling with sound design, and failing to adequately invest in technical aspects that match its rapid growth in output. The contrast between both industries has now become a focal point in Pere Egbi’s statement, igniting a larger debate about the future of Nollywood.

Social media reactions to Pere’s comment have been deeply divided. While some Nigerians expressed pride in Nollywood’s global dominance, pointing out that Nollywood remains Africa’s biggest cultural export, others admitted that he was telling the hard truth that the industry often tries to sweep under the carpet. A fan on X wrote, “Pere is not lying. South Africa movies look so polished, so rich in storytelling. Nollywood is trying, but sometimes it feels rushed.” Another user defended Nollywood by insisting, “We may not have all the polish yet, but Nollywood is the reason the world looks to Africa for stories. We’ve been carrying African cinema on our backs for decades.” The clash of opinions underscores the emotional weight Nollywood holds for Nigerians, who see the industry not just as entertainment but as a cultural emblem that has shaped how the world views the country.

Industry experts have also weighed in on Pere’s remark, with some agreeing that Nollywood has indeed been running on quantity over quality. Nigeria produces hundreds of films every year, a fact that often earns global recognition, but the volume comes with significant drawbacks, as many films suffer from poor scripting, hurried post-production, and underfunded crews. By contrast, South Africa tends to produce fewer films, but with meticulous attention to detail, better funding structures, and international-standard technical crews, ensuring that each film can stand on its own in quality when compared to Hollywood or European productions. This deliberate, structured approach has helped South African cinema penetrate the global market in ways that Nollywood is still struggling to achieve.

However, Pere’s statement is not just about criticism; it is also about solutions. His call for collaboration between Nollywood and South Africa reflects a growing sentiment among African creatives that unity is the way forward. In recent years, pan-African collaborations in music have propelled Afrobeats and Amapiano into global sensations, and many believe that the same model can work for cinema. By pooling resources, sharing expertise, and creating joint productions, African countries could build a film ecosystem that not only rivals Hollywood and Bollywood but also showcases the rich cultural diversity of the continent. Pere’s call may be the spark needed to push Nollywood to take collaborative ventures more seriously, beyond individual partnerships, toward structured inter-industry relationships.

The conversation also brings to light the role of government support in shaping a film industry’s trajectory. South Africa has made deliberate efforts to fund, regulate, and internationalize its cinema, offering incentives for foreign filmmakers to shoot in the country, while also building infrastructure that supports local productions. Nigeria, despite having the larger industry by volume, often leaves Nollywood to survive without substantial government backing, making it heavily dependent on private investments that prioritize profit over craft. Pere’s statement indirectly challenges Nigerian authorities to take cinema more seriously, not just as entertainment, but as a strategic cultural and economic export.

Beyond government intervention, Nollywood also faces challenges within its creative process. Many critics argue that Nollywood needs to invest more in script development, professional training, and technical innovation. The industry is rich in talent, but without adequate structures, that talent often struggles to reach its full potential. South Africa’s success, as Pere points out, is rooted in professionalism and work ethics, ensuring that everyone involved in film production adheres to international standards. Nollywood, meanwhile, has been accused of rushing projects for quick profit, sometimes at the expense of quality storytelling. Pere’s words highlight these differences, raising important questions about whether Nollywood can adapt and evolve to meet modern cinematic demands.

Interestingly, some Nollywood filmmakers welcomed Pere’s comments, acknowledging that healthy criticism is necessary for growth. They argue that only by confronting its shortcomings can Nollywood truly reach the heights it aspires to. The industry has already shown flashes of brilliance with movies like The Wedding Party, Aníkúlápó, King of Boys, and The Black Book, which gained significant traction internationally. These films prove that Nollywood has the capacity to deliver quality, but Pere’s statement suggests that it needs to do so consistently rather than occasionally.

As the debate continues, one thing is clear: Pere Egbi has started a necessary conversation. His comparison of South Africa’s film industry to Nollywood is not just an observation but a challenge, a reminder that Nigeria’s film dominance cannot be taken for granted. The global entertainment landscape is changing rapidly, and for Nollywood to maintain its relevance, it must embrace innovation, collaboration, and higher standards. Whether his words are seen as harsh criticism or constructive advice, Pere has forced Nigerians to reflect on the state of their beloved film industry and to consider what steps must be taken to ensure that Nollywood not only tells African stories but does so with the quality, professionalism, and impact that they deserve.

At the heart of his statement lies both pride and urgency—pride in Nollywood’s achievements so far and urgency in realizing that other African countries are not waiting behind. South Africa, according to Pere, is already ahead, and the real question now is whether Nollywood is willing to accept the truth and do the hard work required to catch up.