The vault is open, the score is final: Gingerrr, the audacious all-female heist thriller, has officially locked in ₦428.8 million in domestic earnings, making it the highest-grossing Nollywood film of 2025 and a new benchmark for Nigerian cinema.
Directed by Yemi Morafa and released on September 26, 2025, Gingerrr chronicles the audacious exploits of a team of women in a web of high-stakes robbery, treachery, and triumph. Starring Wunmi Toriola, KieKie, Bolaji Ogunmola, Bisola Aiyeola, Bukola Adeeyo, Shaffy Bello, and Odunlade Adekoya, the film’s gripping narrative and powerhouse performances continue to draw record crowds, blending thriller elements with a potent message of female solidarity.
This latest figure marks a significant leap from its previously reported ₦378.6 million milestone in late October, achieved through sustained momentum in its seventh week of release.
The movie’s explosive debut weekend of ₦127 million has evolved into a box office juggernaut, dominating charts for multiple weeks and outpacing competitors like One Battle After Another and The Conjuring: Last Rites. By mid-October, it had already crossed ₦322.7 million, holding the No. 1 spot for four straight weekends.
Experts credit Gingerrr’s success to its innovative genre fusion, collaborative production model — backed by its leading actresses — and savvy marketing that has sparked viral buzz on platforms like X. Social media is flooded with fan fervor, from praise for its “unpredictable twists” to celebrations of its empowerment themes, propelling word-of-mouth attendance even as the year winds down.
With its UK theatrical rollout underway and additional Nigerian screenings slated, projections now eye ₦500 million domestically, potentially elevating Gingerrr higher on all-time Nollywood lists alongside icons like A Tribe Called Judah and The Wedding Party. This surge not only underscores Nollywood’s resilience amid economic headwinds but also heralds a golden age for women-centric blockbusters. As one industry analyst put it, “Gingerrr isn’t just stealing scenes — it’s rewriting the script for Nigerian cinema’s future.”
