The Return of Agbara Nla— Sales to Worship in Cinemas

If you thought the return of Agbara Nla was just another Nollywood movie release, think again. The Mount Zion Christian film has not only pulled millions of naira at the box office but has also sparked conversations about faith, culture and what should happen inside a cinema.

Agbara Nla: The Return, a modern remake of Mike Bamiloye’s 1993 classic, officially began its nationwide cinema run on October 1, 2026, 33 years after the original was released. Mike Bamiloye has reprised his role as Isawuru, while his sons, Damilola and Joshua Mike-Bamiloye, directed the new production.

Before its official release, the movie reportedly generated more than ₦71 million from single-day preview screenings, attracting over 12,100 admissions. Its distributor, Nile Entertainment, described the performance as a record-breaking opening for a faith-based film and one of the biggest single-day preview performances in the region.

But the money is only one part of the story.

Videos from cinemas have been circulating online showing viewers singing worship songs, speaking in tongues and praying during or after screenings. Some Christian viewers have described the experience as more than watching a movie, with social media posts calling the scenes an unexpected revival experience.

The movie has also reopened an older conversation about how Yoruba culture and traditional spirituality are portrayed in Mount Zion productions.

Before the release, Joshua Mike-Bamiloye responded to criticism that Mount Zion films portray Yoruba spirituality negatively. He argued that the ministry celebrates Yoruba language, proverbs, colours, traditions and royalty, and said the films are intended to present a conflict between light and darkness rather than between Yoruba culture and Christianity.

That conversation has become even more interesting with Agbara Nla because its story centres on Muwonleru, a community controlled by the powerful herbalist Isawuru and visited by two Christians who seek to spread their faith.

There are also viewers discussing the movie from a theological angle. One early review praised its production, acting, costumes and visual effects but questioned some of its portrayals of spiritual experiences, including demon possession and speaking in tongues. Those views are the reviewer’s interpretation, rather than an established consensus about the film.

For a movie originally released in the home-video era, its return to cinemas has therefore become more than a nostalgic remake. It has placed an old Christian story in the middle of modern conversations about cinema, faith, culture and Nigerian storytelling.

And with the film still showing in cinemas, the biggest conversation around Agbara Nla may have only just begun.