Nigeria’s National Film and Video Censors Board (NFVCB) has found itself at the center of a heated cultural debate after approving the Nollywood film A Very Dirty Christmas. The movie, produced by actress Ini Edo, sparked outrage among Christian groups who argued that the title was offensive and disrespectful to the faith. In response, the NFVCB defended its decision but has now asked the producers to consider modifying the title to ease public concerns.
The controversy began shortly after the film’s release in cinemas on December 16, 2025. The Christian Association of Nigeria (CAN) criticized the title, insisting that linking the word “dirty” with Christmas diminished the spiritual significance of the holiday. CAN demanded that the board reconsider its approval and urged the filmmakers to issue a public apology. The backlash quickly spread across social media, where opinions were sharply divided.
NFVCB’s Executive Director, Dr. Shaibu Husseini, explained that the board had cleared the film after a thorough review process. According to him, the word “dirty” was interpreted metaphorically, symbolizing moral contradictions and social realities during the festive season rather than a literal insult to Christianity. He stressed that the board did not intend to mock religious beliefs but acknowledged that public perception had to be taken seriously.
Despite defending its approval, the NFVCB formally requested that Ini Edo and her team consider modifying the title. The board argued that while artistic freedom is important, filmmakers must also be sensitive to cultural and religious sentiments in Nigeria, where faith plays a central role in public life. This balancing act between creative expression and cultural respect has long been a challenge for Nollywood and its regulators.
Ini Edo responded by appealing to the NFVCB not to withdraw the film from cinemas. She explained that the title was chosen deliberately to provoke conversation and highlight social realities, not to disrespect Christianity. Edo emphasized that if the film dishonored Christians or God, she would withdraw it herself, but urged critics to watch the movie before passing judgment. Her defense resonated with some fans who argued that Nollywood should be allowed to push boundaries.
The controversy has reignited debates about censorship, artistic freedom, and cultural sensitivity in Nigeria’s film industry. Supporters of the film argue that Nollywood must be free to explore provocative themes if it is to compete globally. Critics, however, insist that filmmakers must respect the deeply religious nature of Nigerian society, warning that titles like A Very Dirty Christmas risk alienating audiences.
Public reaction remains polarized. On one hand, some Nigerians see the backlash as an overreaction, pointing out that the film’s content is not blasphemous and that the title is metaphorical. On the other hand, many believe that associating Christmas with “dirty” is inherently disrespectful, regardless of artistic intent. The debate has spilled into churches, online forums, and cultural spaces, reflecting the broader tension between modern creativity and traditional values.
For NFVCB, the incident underscores the difficulty of regulating Nollywood in a diverse society. The board must balance its role as a gatekeeper of cultural values with its responsibility to support the growth of Nigeria’s film industry. By defending the film while calling for a title change, NFVCB is attempting to walk a fine line between protecting artistic freedom and maintaining public trust.
The controversy also highlights Nollywood’s growing influence. As Nigeria’s film industry expands globally, titles and themes are increasingly scrutinized not just locally but internationally. The debate over A Very Dirty Christmas shows how Nollywood is grappling with the responsibilities that come with its rising profile, particularly in a country where religion and culture remain deeply intertwined.
Ultimately, the fate of A Very Dirty Christmas may depend on whether the producers agree to modify the title. For now, the film remains in cinemas, attracting both curious viewers and critics. The NFVCB’s intervention reflects an effort to calm tensions while preserving the integrity of Nigeria’s creative industry. Whether this compromise satisfies both sides remains to be seen, but the controversy has already cemented the film as one of the most talked-about Nollywood releases of the year.
