Nollywood actress and filmmaker, Bimbo Ademoye has refused to accept an apology from the man whose copyright claim stopped her YouTube movie, My 30th Wedding, from earning revenue, saying she is still very angry over what he did.

The man, identified as Mazi Enemuo, shared an open apology on Instagram on Tuesday. He admitted responsibility and said he never meant to infringe on her rights or cause her distress.

According to him, he uploaded the film’s soundtrack to promote the song to a wider audience, but the distribution platform then triggered a YouTube Content ID claim. He said he had taken the song off streaming platforms, promised to work with the distributor to clear the claim completely, and asked the actress to forgive him.

Ademoye was not persuaded. She questioned how someone with about 250 subscribers expected to help her reach a wider audience when her own channel has close to two million. She also pointed out that out of all the songs in the film, he picked the one she had not properly copyrighted.

The dispute began days earlier, when Ademoye said a copyright notice had flagged the soundtrack in My 30th Wedding, which she released on her channel on October 1, and made the film ineligible to earn revenue. She said someone had uploaded a song titled We Can Take It (My 30th Wedding) to digital streaming platforms and claimed ownership of it. She then offered a ₦1 million reward for information that could help identify and locate the person behind the claim, urged her followers to report the account, and called on YouTube and YouTube Africa to step in.

It is not the first time the actress has been caught in a copyright fight over her YouTube films. In January, she accused an individual using the name Emmanuel Davies of falsely claiming a song in her movie Where Love Lives, which had passed 18 million views, an issue that was later resolved in her favour. In August 2025, another of her films, To Be a Friend, was pulled from YouTube over a soundtrack dispute after nearly six million views.

The repeated cases have drawn fresh attention to how automated copyright claims can cost Nigerian filmmakers their earnings.