Analysis by Joshua Olomu | Abuja, Dec 19, 2025
The National Film and Video Censors Board (NFVCB) has formally requested that the producers of the new Nollywood film, “A Very Dirty Christmas,” modify its title. This move follows significant public backlash and a formal complaint from the Christian Association of Nigeria (CAN), thrusting the regulatory body into a complex debate that sits at the intersection of creative freedom, cultural sensitivity, and public morality.
In an exclusive interview with the News Agency of Nigeria (NAN), Dr. Shaibu Husseini, the Executive Director/CEO of the NFVCB, confirmed the board’s intervention. This case is not merely about a film title; it serves as a high-profile test case for Nigeria’s evolving film censorship framework in a diverse and religiously fervent society.
“We have heard their concern, and we have to reason together because there is no way we will not listen to the concern raised by a very important religious body like CAN,” Husseini stated. “One of the things the law has asked us to do as a board is to balance creativity and regulation, and we need to be seen to be doing that.”
The Core of the Controversy: Sacred vs. Secular Expression
The film, a family drama produced by acclaimed actress Ini Edo and released on December 16, has ignited a firestorm. CAN, in a strongly worded statement, condemned the title as “offensive and a mockery” of the Christian faith. Their argument hinges on the association of the sacred Christmas season—a celebration of the birth of Jesus Christ—with the term “dirty,” which they assert diminishes its spiritual significance and trivializes a core religious holiday.
This controversy highlights a recurring tension in global entertainment: where does artistic license end and cultural or religious disrespect begin? For regulators like the NFVCB, the challenge is to interpret guidelines in a context where public perception can be as powerful as legislative text.
The NFVCB’s Initial Stance and Pivotal Reconsideration
Dr. Husseini clarified that the board originally approved the title based on the film’s content and context. After reviewing the full movie, the censors determined it was an act of “fictional and creative expression”—a family drama about secrets and conflict during a holiday reunion, with no intent to disparage Christianity.
“When we were watching the film, it had nothing to do with Christianity or whatever,” he explained.
However, the NFVCB’s subsequent decision to request a title change underscores a critical, often overlooked, aspect of modern regulation: reactive governance. Even with an initial approval, the board is empowered by Section 39(1) of its enabling law to order a withdrawal for further review if deemed necessary in the public interest. Husseini positioned this move not as an admission of error, but as a “spirit of responsiveness and dialogue” to prevent unnecessary religious tension and offensive interpretations.
Broader Implications for Nollywood and Creative Industries
This incident raises pivotal questions for Nigeria’s booming film industry:
- The “Title-Content” Dichotomy: Should a film be judged solely on its narrative content, or is its marketing apparatus—especially a provocative title—a legitimate part of the regulatory purview? A title is the primary marketing tool, and its public impact is immediate, unlike the plot which requires viewing.
- Precedent Setting: Does responding to organized public pressure set a precedent where vocal groups can influence artistic decisions post-approval? While the NFVCB cites dialogue, critics may argue it risks incentivizing pre-release campaigns against content.
- Navigating a Plural Society: Nigeria’s diversity means that content potentially offensive to one group may be acceptable to another. The board’s mandate to “promote understanding, respect for religious diversity and national unity” is a delicate, often impossible, balancing act.
The Film Itself: Plot vs. Perception
Directed by Akay Mason, ‘A Very Dirty Christmas’ features an ensemble cast including Eucharia Anunobi, Femi Branch, and Lateef Adedimeji. The plot revolves around a family Christmas reunion that unravels as long-buried secrets and past traumas surface, turning a festive gathering into a tense drama. The “dirt” refers to hidden familial conflicts, not the holiday itself—a nuance lost in the title alone.
This disconnect between artistic intent and public reception is the heart of the matter. The producers likely aimed for a catchy, ironic title to signal a drama-filled holiday story, a common trope in global cinema. However, in Nigeria’s highly religious context, the semantic collision between “dirty” and “Christmas” proved too volatile.
Conclusion: A Regulatory Tightrope
The NFVCB’s action in this case demonstrates a regulatory body attempting to be pragmatic and diplomatic. By engaging the producers for a modification rather than issuing a blanket ban, they seek a middle path. Dr. Husseini reassured the public of the board’s commitment to religious sensitivity and peaceful coexistence, stating, “Nigeria’s strength lies in its diversity, and the board is mindful of the importance of ensuring that films… do not undermine religious harmony.”
Ultimately, the “A Very Dirty Christmas” controversy is a microcosm of a larger, ongoing negotiation in democratic societies. It questions how to foster a vibrant creative industry while maintaining social cohesion, and who gets to decide where that line is drawn. The outcome of this request for a title change will be closely watched by filmmakers, religious groups, and regulators alike, as it will undoubtedly inform future clashes at the crossroads of art and belief.
Source: NAN (www.nannews.ng) | Edited by Ekemini Ladejobi
