Nollywood has come a long way. With bigger platforms, better cameras, and wider audiences, everything is evolving. But one issue still shows up too often: overacting. The trend is seen in exaggerated facial expressions, shouting where silence would have worked better, and delivery that feels more “performed” than real. Once any of these happens, it takes the audience out of the story.
By Henry Ezejelue
Nollywood has come a long way. With bigger platforms, better cameras, and wider audiences, everything is evolving. But one issue still shows up too often: overacting. The trend is seen in exaggerated facial expressions, shouting where silence would have worked better, and delivery that feels more “performed” than real. Once any of these happens, it takes the audience out of the story.
Overacting is not a recent phenomenon. Nollywood grew from a style where drama had to be loud to be felt. Big reactions, strong gestures, and heavy dialogue were the language of the time, and it worked for that era. But things have changed. Today’s audience is different. With exposure to international films and streaming platforms, viewers are paying more attention to subtlety and realism.
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Some critics argue that overacting weakens storytelling, while others believe it reflects audience taste and cultural expression. Film observers have described exaggerated performances as making some films difficult to take seriously.
Actor Gabriel Afolayan has spoken about the need for the industry to evolve with its audience, noting that viewers today are highly aware and increasingly demand better, more believable performances.
Similarly, veteran actress Joke Silva has linked overacting to gaps in training and emotional depth, while some filmmakers argue that certain performance styles also reflect Nigeria’s energetic cultural expression and audience expectations.
Another issue is direction. Sometimes, actors are not given enough guidance to truly settle into their roles. When that happens, they fall back on what they know, and more often than not, that means pushing the performance instead of living in it.
Filmmakers such as Taiwo Egunjobi have also pointed out that Nollywood’s fast production cycle often limits rehearsal time and proper table reads. This rush can affect performance quality and encourage reliance on familiar acting patterns rather than nuanced performance.
Then there is the reality of how fast films are made. Tight schedules do not always give actors the time to properly connect with their characters. So, instead of something deep and believable, performances often become rushed and surface-level.
However, there are actors who continue to demonstrate what controlled, believable performances look like. Richard Mofe-Damijo (RMD), for instance, brings a calm authority to his roles. He does not try too hard, and that is exactly why it works. Ramsey Nouah, on the other hand, has mastered the art of restraint, allowing small reactions and quiet moments to carry emotional weight. RMD is widely regarded in Nollywood for his understated and naturalistic acting style, often cited as an example of controlled screen performance. Unlike actors who rely on exaggerated delivery, his strength lies in subtle expression and emotional balance.
What is even more encouraging is what is happening with the newer generation. More actors are beginning to understand that the camera does not need exaggeration it needs honesty. A slight pause, a look, a controlled reaction; these often speak louder than shouting ever will.
Veteran actor Mofe-Damijo has, in various discussions about screen acting, emphasized that film performance thrives on subtlety and truth rather than exaggeration.
Similarly, British screen legend Michael Caine reinforces this idea in his teachings on acting, noting that the camera captures everything and therefore does not require over-performance for emotion to be communicated.
This view reflects a widely held position among Nollywood practitioners and filmmakers, including actors such as Kanayo O. Kanayo and Nouah, and directors like Kunle Afolayan, who argue that the industry’s core challenge lies not in lack of talent but in preparation, direction, and performance discipline.
Henry Ezejelue, a Theatre Arts Master’s Degree holder, wrote from Lagos
