Much has been said about the rise and fall of the Nigerian film industry and its reinvention as Nollywood, an industry sustained by cheap video productions. Beyond critics, the video industry thrived and boomed, to the tune of producing about 1500 video films yearly. However, along with the decline of the film industry itself, the cinema house collapsed, finding no relevance in the video films’ shoestring production, circulation and consumption. While critics tended to focus on the so-called poor quality of the videos, popular audiences – in Nigeria, Africa and beyond - were undeterred in their consumption. Soon enough, producers attentive to the critics and, seeking to woo truly western audiences and western castes of African minds, started to produce films with bigger budgets, better quality for theatrical releases. This was motivated in part by the return of cinema houses to major Nigerian cities. While scholarly and critical attention has focused on the Nollywood films and audiences, there is a gap in our understanding of the new cinema space in Nigeria, the form it takes and its social contexts of relevance. This paper interrogates the physical and social structures of the new cinema space in Nigeria as a site of seeing for contemporary Nollywood films. In this revival of cinema-going culture and meaning-making, what social indices and frames of reference connect audiences with the new cinema spaces in Nigeria?