Recent endeavours by new Nigerian filmmakers have become exceptional instances of cinematographic expertise and creative fortes, unlikely to be found among typical (conventional) Nollywood cineastes. These filmmakers are gradually registering their presence among some of the finest and serious minded movie directors in Africa. Their experimentations have encouraged a kind of dissimilarities of ‘film practices’ in order to create some sort of ‘strategy’ to contend with the excruciating demands of the video markets. With the successful productions of Kunle Afolayan’s The Figurine (2009) Phone Swap (2013), Chris Nneji’s Murder at Prime Suite (2012) and Niyi Akinmolayan’s Out of Luck,(2015) these films have inscribed and enforced a paradigmatic shift from the norm, gradually transforming the status quo into what Jonathan Haynes has authoritatively theorized as, the “Neo-Nollywood”, that is, an emerging movement by Nigerian filmmakers who are determined to involve themselves in producing highly technical and professionally made films, all set to make a mark as emerging filmmakers of lasting substance. Building on the theories of Moradewunmi Adejumo, Connor Ryan, Kenneth Harrow, and Maryellen Higgins, this paper intends to show how New Nollywood films and cinemas, in which they appear appeal directly to audiences’ senses by assuring not only an excellent movie, but also a compelling experience that is inextricably linked with universal desires and consumerism. These films exhibit a typical metropolitan lifestyle, the episteme of daily life and everyday high-class life in the city, multiplexes, shopping mall, exquisite buildings, flashy cars, trendy life-style, and citizens parading their white-collar jobs, superb fashion, the telecommunication industry, the banking industry and the various exegesis that resonates as signifying tropes in popular metropolitan life. At the end of the paper, we will conclude that the extent at which differentiation exist between conventional Nollywood, and New Nollywood, only illustrate how this developing trend gradually changes the culture of filmmaking in Nigeria, which also invariably attracts new readings and criticisms into Nigerian cinema and indeed African cinema.