In the world of Nollywood, where stories come alive on screen and box office numbers tell tales of their own, Toyin Abraham has carved out a space that’s hard to ignore. Her latest film, Oversabi Aunty, released in December 2025, has already pulled in over ₦711 million in just 18 days, making it the fourth highest-grossing Nollywood movie of all time. This isn’t just a number; it shows how audiences are responding to her vision in a big way. The movie sits among giants like Funke Akindele’s Behind The Scenes, which has crossed ₦1.77 billion, and other heavy hitters that have redefined what success looks like in Nigerian cinema. But beyond the earnings, Oversabi Aunty marks a shift for Toyin, from being seen mainly as an actress to someone who calls the shots on production, direction, and even how her work reaches viewers.
Think about it. Nollywood has grown from those early days of straight-to-video releases to a powerhouse industry pumping out thousands of films each year. Yet, for women like Toyin, the path hasn’t always been straightforward. She’s been in the game since 2003, starting with roles in Yoruba-language movies and building up to mainstream hits. Her journey reflects broader changes in the industry, where female filmmakers are pushing against old norms and claiming more control. Oversabi Aunty isn’t just another comedy; it’s a statement on family, meddling relatives, and life lessons wrapped in laughs. And with the “December Wars” heating up between releases like this and Funke’s latest, it’s clear that women are leading the charge in Nollywood’s commercial battles.
Toyin’s early career was rooted in acting. Born in Auchi, Edo State, but raised in Ibadan, she studied at Osun State Polytechnic and later Ibadan Polytechnic. Her breakthrough came with roles in films like Ebi Mi ni and Okafor’s Law, where she showcased her knack for blending drama and humor. But acting alone wasn’t enough. By the mid-2010s, she started producing under her banner, Toyin Abraham Productions, giving her a say in the stories being told. Films like Fate of Alakada and Ghost and the Tout became commercial successes, pulling in solid earnings and proving she could handle the business side too. These weren’t just hits; they highlighted her ability to connect with everyday Nigerians through relatable characters and sharp wit.
As she evolved, Toyin took on directing more seriously. Her directional debut with Oversabi Aunty isn’t her first time behind the camera, but it’s her most ambitious yet. She wrote, produced, and directed this one, starring as the lead—a zealous church usher whose well-meaning interference causes chaos in family ties, especially around a wedding. The plot draws from real-life scenarios many Nigerians know too well: the over-involved aunty who means well but ends up stirring trouble. Reviews and fan reactions on X praise its mix of comedy and emotion, with one post calling it “packed with comedy, emotions, and real life lessons.” Toyin herself has been active in promoting it, showing up at cinemas in places like Ikeja and Agege, turning screenings into events where fans laugh and bond.
What sets this film apart is how it fits into Toyin’s broader growth. Early on, she faced setbacks, including personal struggles that made headlines. But she bounced back, using those experiences to fuel her work. By producing her own films, she gained control over casting, scripts, and marketing—areas where many actresses get sidelined. In Oversabi Aunty, she cast young talents like Bianca Ugowanne in dual roles, praising her publicly for “punishing both roles like a pro.” This hands-on approach shows her commitment to nurturing new voices while steering the narrative.
Now, let’s talk numbers, because in Nollywood, box office speaks volumes. Oversabi Aunty opened strong with ₦99.8 million in its first weekend, the second-highest opening for a Nollywood film in 2025. By day 11, it had raked in over ₦380 million, and by day 18, it hit ₦711.5 million, pushing it to fourth place all-time. Compare that to the top earners: Funke Akindele’s Behind The Scenes at number one with ₦1.77 billion, followed by Everybody Loves Jenifa and A Tribe Called Judah. Toyin’s film is part of a wave where Nollywood titles crossed ₦200 million more frequently in 2025, with 16 films hitting that mark. These figures aren’t random; they come from smart marketing, like Toyin’s cinema tours and social media buzz, where posts urge fans to “go out and support” to reach ₦1 billion.
This success ties into the “December Wars,” that intense period when big releases battle for holiday crowds. In 2025-2026, Oversabi Aunty went head-to-head with Behind The Scenes, both dropping around the festive season. Funke’s film dominated with over ₦1.7 billion in weeks, but Toyin’s held its own, earning ₦248.2 million in its third week alone. It’s not just competition; it’s collaboration in a sense, as both women boost Nollywood’s profile. Together with others like Femi Adebayo, they drove the industry to ₦2.9 billion in 2025. Fans on X capture the excitement, with videos of sold-out shows and calls to “storm cinemas this weekend.”
Diving deeper, the gender angle can’t be overlooked. Nollywood has long portrayed women in limited roles—often as wives, victims, or seductresses. Studies show that in many films, females are defined by appearance or domestic duties, reinforcing old stereotypes. But women like Toyin and Funke are changing that. They’re not just acting; they’re creating content that shows complex female characters. In Oversabi Aunty, the lead is flawed but relatable, meddling in ways that spark reflection on boundaries and family dynamics. This shift matters because Nollywood influences perceptions; when women direct, they bring authenticity to stories.
Research highlights the challenges: the industry is informal and male-dominated, with women facing sexism and precarious work. Yet, female filmmakers are rising, producing films that challenge toxic masculinity and promote agency. Toyin’s evolution mirrors this; from being “discovered” at age 8 in church plays to running her production company. She and Funke have both shown dedication in everything from casting to promotion, proving women can dominate box office charts. In 2025, their films topped lists, with Behind The Scenes at ₦1.32 billion and Oversabi Aunty at ₦480 million in initial tallies. This isn’t coincidence; it’s the result of hard work in an industry where women “run Nollywood,” as one X post puts it.
Why is Oversabi Aunty Toyin’s most important work? It represents her full control over the project’s fate. She handles distribution through partnerships like FilmOne, ensuring wide reach in Nigeria and abroad, including Odeon cinemas in the UK. This level of ownership is key in Nollywood, where commercial success depends on marketing and audience engagement. Toyin’s hands-on style—surprising fans at screenings, posting updates—has built loyalty. It’s also expanding globally, with plans for Canada and America. This move from “just an actress” to industry titan echoes broader trends, where women are breaking the ₦1 billion ceiling that once seemed out of reach.
Funke Akindele has set the bar high, with three films over ₦1 billion, including Behind The Scenes. Her pattern of success—over ₦6 billion in five years—comes from relatable stories and strong promotion. Toyin is close behind, with Oversabi Aunty eyeing that milestone. Posts celebrate this “race,” noting how both elevate Nollywood. It’s not rivalry; it’s progress, showing that female-led films can draw crowds and spark conversations.
In the end, Oversabi Aunty isn’t just about laughs or earnings. It’s proof of Toyin’s growth in a field where women fight for visibility. By controlling her narrative, she’s inspiring others. As Nollywood evolves, with more diverse stories and stronger female voices, films like this pave the way. Whether it hits ₦1 billion or not, it’s already a win for Toyin and the industry. Audiences keep showing up, and that’s what counts.
