‘Sinners’ Shatters Nigerian Box Office with N710 Million in Six Weeks, Cementing Global Appeal
LAGOS, Nigeria – Ryan Coogler’s horror-musical drama Sinners, starring Michael B. Jordan, has solidified its blockbuster status in Nigeria, grossing N710.2 million after six weeks in cinemas, according to the Nigerian Box Office. The film, which premiered on April 18, 2025, held the No. 1 spot for four consecutive weekends and ranks as the 10th highest-grossing film in Nigeria’s history, drawing over 100,000 admissions. Its sustained success, with N30 million earned in the May 23–25 weekend alone, underscores its resonance with Nigerian audiences, despite its setting in the racially charged Mississippi Delta of the 1930s.
Sinners, a supernatural tale blending vampires, blues music, and social commentary, follows twin brothers (both played by Jordan) who return to their hometown to open a juke joint, only to face a sinister evil. The film’s $90 million budget and Coogler’s bold deal with Warner Bros.—securing final cut, first-dollar gross, and rights reversion after 25 years—have paid off, with global earnings reaching $294.7 million, including $225.4 million domestically in the U.S. Its second-weekend drop of just 4.9%, the smallest for any R-rated or horror film opening above $40 million, earned it a historic place as the highest-grossing R-rated April release, surpassing Indecent Proposal (1993).
In Nigeria, Sinners outperformed expectations in a market dominated by Nollywood, debuting with N79.6 million and crossing N400 million by week three, N567.4 million by week four, and N600.7 million by week five. Its appeal, driven by Coogler’s Black Panther fanbase and Jordan’s star power, mirrors the film’s cultural impact in the U.S., where it’s hailed as a Get Out-level event with a 98% “Certified Fresh” rating on Rotten Tomatoes. Nigerian moviegoers have embraced its themes of race, redemption, and resilience, with word-of-mouth fueling repeat viewings.
The film’s success ties to your earlier “frightened crowd” quote, with Nigerian cinema audiences, like the chaotic throngs in Gaza’s Sahaba Market or Portofino’s streets, rushing to experience Sinners’ thrilling narrative. The “steps” of Lagos theaters witness its cultural triumph, akin to Chelsea’s Conference League victory or the scrutiny in Karen Read’s trial. If you’d like a deeper analysis of its Nigerian performance, thematic impact, or connections to other prompts, let me know!
