It is January 2026, and the dust from Nollywood’s December box office showdown is finally settling. True to form, the country’s box office queens went all out last month, delivering films that had cinemas buzzing and ticket counters ringing. But this time, one familiar face was missing from the battlefield.
For years, Funke Akindele and Toyin Abraham have dominated the festive season, turning December into a personal playground where audiences can expect big laughs, drama, and blockbuster numbers. Their annual releases have become a staple, with fans planning holidays and cinema trips around them.
Despite whispers of tension behind the scenes, Akindele and Abraham have maintained a professional rivalry that keeps both on their toes. The result? Bigger stories, sharper marketing, and films that Nigerians eagerly queue to see.
Last year, the stage expanded when Mercy Aigbe joined the race, turning it into a three-way contest. Weeks before the holiday, the buzz on social media and radio was intense, as fans speculated who would dominate the festive box office.
Funke Akindele took the crown with Everybody Loves Jenifer. The film didn’t just perform well; it made history, crossing the ₦1 billion mark at the cinemas and reminding everyone why the Jenifa brand is one of Nollywood’s most bankable franchises.
“Funke knows the Nigerian audience like the back of her hand,” said a cinema manager in Lagos. “When she releases a film in December, it’s almost a guarantee that people will show up.”
Toyin Abraham, meanwhile, held her ground with Alakada: Bad and Boujee, which crossed the ₦400 million mark. Her ability to blend relatable comedy with exaggerated drama keeps her firmly in the game, and fans continue to flock to her films year after year.
Mercy Aigbe’s Thin Line, co-produced with her husband Adekaz, made a respectable showing but could not compete with the heavyweights. Industry insiders suggest the financial strain may have influenced her decision to sit out this year’s December rush.
Into that opening stepped Ini Edo, who boldly released Very Dirty Christmas, produced by herself and directed by Akay Mason. The film hit cinemas on December 16, 2025, but faced resistance from a section of the Christian community over its title. Ini Edo stood her ground, insisting the film was about creativity and storytelling, not disrespect.
“This is purely an artistic choice,” Ini Edo said while addressing the backlash. “The story doesn’t dishonour anyone’s faith. People should watch the film first.”
The controversy, while challenging, created massive public curiosity. Social media lit up with debates, memes, and encouragement for the actress.
The interest translated to box office numbers, and despite hurdles, Very Dirty Christmas has crossed ₦100 million.
Meanwhile, Akindele returned with Behind The Scenes, a film that blends humour with emotional depth, exploring the pressures of fame and the behind-the-scenes chaos of the entertainment industry. Her strategy paid off: the film has now surpassed the ₦1 billion mark at the Nigerian box office.
Toyin Abraham, refusing to be overshadowed, maintained momentum with Oversabi Aunty. The film’s mix of slapstick comedy and relatable storytelling helped it cross approximately ₦400 million just 13 days after release.
Fans have continued to pour in, making December 2025 and the early weeks of January 2026 a record-breaking period for Nollywood. Cinema-goers say the festive season now comes with an unspoken rule: see at least one box office queen’s film.
“Whether na Funke, Toyin, or Ini Edo, December no dey dull again,” said a movie enthusiast in Surulere. “You must see one of their films, or you’ll miss the gist!”
The numbers also show a shift in audience behaviour. While Akindele and Abraham still dominate, Ini Edo’s entry proves that a well-promoted film, even amidst controversy, can carve out its space and draw meaningful attention.
Adding her voice to the admiration for the trio, Mo Abudu, founder of EbonyLife Media, praised the actresses, describing them as “phenomenal queens of the box office, lighting up December for Nigerians.”
She highlighted how their films have not only driven ticket sales but also created cultural mo
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