Controversy Erupts as Tolu Fagbure (Afin) Declares: "Itele & Eniola Ajao Have No Business in Cinema" — Nollywood Divided Over Brutal Criticism
Veteran actor and filmmaker Tolu Fagbure, popularly known as Afin, has ignited one of the biggest debates currently rocking the Yoruba arm of Nollywood after declaring that actors such as Itele D'Icon and Eniola Ajao "have no business in cinema."
The remarks, made during a recent interview that has since gone viral across multiple social media platforms, have sharply divided filmmakers, movie lovers and industry stakeholders. While some applauded Fagbure for addressing what they describe as declining production standards in Yoruba cinema, others condemned his choice of words as disrespectful, dismissive and unnecessarily harsh.
Art Is Subjective, Critics Should Be Objective
Among the strongest reactions was the argument that art is ultimately subjective.
Many movie lovers insisted that no critic has the final authority on what qualifies as a good film because audiences experience movies differently.
According to one commenter:
> "Art is all about perception, not something fixed. It's about the audience's interpretation. To be a critic, you have to learn to be objective, not vile. Movies like Koleosho entertained a lot of people. You cannot dismiss people's work in that manner."
This sentiment was echoed by many who believe commercial success and audience enjoyment should never be ignored when evaluating a film.
"Grace Opens Doors, Not Just Talent"
Others argued that the entertainment industry has never been based solely on technical ability.
One social media user wrote:
> "Life doesn't always reward the person who knows how to do it best. Sometimes it rewards the person God has favoured. Those names are popular because grace has spoken for them. There are many talented actors and writers nobody knows."
To many supporters of Itele and Eniola Ajao, popularity itself reflects a connection with audiences that cannot simply be dismissed by critics.
Professional Standards or Jealousy?
Not everyone disagreed with Fagbure.
Several filmmakers and cinematographers argued that his criticism highlighted genuine concerns about the technical quality of some Yoruba cinema productions.
A cinematographer commented:
> "From a professional standpoint, I think he's making sense regarding the development of the Yoruba movie industry. Sentiments aside, there are standards that should be maintained."
Another supporter added:
> "Many people won't understand his point because they cannot identify technical flaws in filmmaking. Professionals see what ordinary viewers may overlook."
Others insisted that Fagbure remains one of the few critics willing to openly discuss issues relating to directing, screenplay, editing, pacing and overall production quality.
Cinema Success Is Ultimately Decided by the Audience
Some movie enthusiasts, however, disagreed entirely.
One recalled initially doubting the quality of Ada Omo Daddy, only to leave the cinema impressed.
> "We all have different opinions, but audiences decide what succeeds. What one person calls ordinary may become another person's favourite movie."
Others argued that many cinema-goers simply want to be entertained rather than conduct technical analyses of films.
Constructive Criticism vs Personal Attacks
Even among those who agreed with Fagbure's observations, several believed his delivery undermined his message.
According to one commenter:
> "There are better ways to criticize. He made valid points, but injected unnecessary anger into his criticism. Nobody has a monopoly on knowledge, and perfection doesn't exist."
That opinion has become one of the recurring themes throughout the debate—whether critics should focus on encouraging improvement rather than appearing to belittle fellow professionals.
Supporters Say Nollywood Must Improve
Some viewers believe the conversation exposes deeper issues affecting Nollywood.
One lengthy comment argued that many local productions still suffer from weak storytelling, inconsistent directing, unrealistic dialogue and excessive casting designed primarily for marketing.
The commenter noted that only a handful of filmmakers consistently produce cinema experiences worth paying for, while urging the industry to invest more heavily in script development and production quality.
Supporters of Fagbure insist conversations like these are necessary if Yoruba cinema hopes to compete more effectively on the international stage.
Itele Fires Back
Itele D'Icon did not remain silent.
Responding to the criticism, the actor questioned why Fagbure focused on his earlier cinema project, Kesari, while ignoring his more recent film, Abánisẹ̀tẹ́.
He challenged the veteran critic to present his own filmmaking achievements if he considers himself an authority on cinema.
> "You're talking about my first cinema job, Kesari, but ignored my latest cinema film, Abánisẹ̀tẹ́. Why not talk about that too? Since you know so much about filmmaking, kindly show us your own records and achievements. We'd genuinely love to learn from the master."
His response quickly generated another wave of reactions online.
Questions Over Fagbure's Own Track Record
The controversy deepened after some commenters questioned Fagbure's own filmmaking credentials.
One claimed that he previously received funding through an industry initiative but never produced a film that achieved the same recognition as those of several of his contemporaries. Others argued that this history weakens his authority to publicly criticize active filmmakers. These claims remain opinions expressed by commenters and have not been independently verified.
Another commenter concluded:
> "Others grew in the industry while he grew bitter at the industry."
Others Defend His Right to Speak
Despite the backlash, many insisted that critics should not be silenced simply because they are unpopular.
One supporter wrote:
> "Don't hate the messenger; focus on the message."
Another added:
> "Tolu remains one of the most constructive critics in the industry. It takes humility for professionals to accept criticism and improve."
A Debate That Reflects Nollywood's Growing Pains
The controversy once again highlights a long-running debate within Nollywood: Should cinema success be measured by technical excellence or by audience acceptance and commercial performance?
While critics argue that higher production standards are essential for the industry's global competitiveness, supporters of commercially successful filmmakers maintain that entertaining audiences is the primary purpose of filmmaking.
Interestingly, both Eniola Ajao's cinema debut as producer with Beast of Two Worlds (Ajakaju) and several recent Yoruba-language cinema releases have demonstrated the growing commercial strength of indigenous-language films at the Nigerian box office, even as debates over quality continue. Beast of Two Worlds
Whether Tolu Fagbure's comments will inspire meaningful improvements or simply deepen divisions within the industry remains to be seen. What is certain is that his remarks have reopened an important conversation about criticism, professionalism, artistic standards and the future direction of Yoruba cinema.
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