Rotimi Salami Says Late Allwell Ademola Was ‘Bloodline’, Not Lover

Nollywood actor Rotimi Salami has opened up on his relationship with late filmmaker and actress Allwell Ademola, dismissing long-running rumours that they were romantically involved and describing her instead as family.

In an interview published ahead of the 6 March 2026 cinema release of Kilanko: The Invincible Child, Salami said Ademola, who directed the project before her death, was “bloodline” to him and remained one of the most important figures in his professional and personal life.

Salami said public speculation around their closeness did not surprise him because fame often attracts commentary that ignores context.

He said: “There are people who are not related to you by blood, but because of the depth of the relationship you share, you consider them family. Allwell Ademola is ‘bloodline’ to me; she is my sister.”

According to him, his priority was to ensure his home remained grounded despite rumours. He said his wife understood the reality of his relationship with Ademola and that her understanding mattered more than social media noise.

The actor also reflected on how attention around his name intensified as his profile grew across both the English-language and Yoruba-language sectors of Nollywood. He said he expected gossip and claims, adding that visibility in the entertainment space often comes with narratives performers cannot fully control.

Beyond personal matters, Salami used the interview to speak on perceptions within the Yoruba film industry. He said he does not like being boxed in as only a “Yoruba actor,” noting that one of the projects that first earned him major recognition in 2016 was an English-language film.

On why parts of the Yoruba sector have historically been viewed as less prestigious, Salami said production quality, funding limits and weak packaging contributed to the gap in public perception over time. He argued that many local-language producers are now improving technical standards, presentation and commercial structure.

Salami also addressed pay differences between performers in English and Yoruba productions, saying the market often rewards branding and positioning as much as acting ability.

He said: “It is simple: packaging. How you present yourself determines how you will be priced.”

The actor said that after crossing deeper into the Yoruba industry, he introduced a per-day billing structure for his work and pushed for compensation that matched his value and responsibilities.

He said he started at N50,000 per day and has grown to nearly N500,000 per day, describing the transition as difficult in the early stage but later rewarding.

On fan behaviour, Salami shared stories of unusual offers, including a claim that someone once proposed to buy him a house in the United States. He also said two people in different countries once bought him the same type of car at a time he had none, but he turned down both gifts.

Explaining that decision, he said he did not want future embarrassment from public claims that his lifestyle was financed by others. He added that personal values and family upbringing influenced his refusal, and that he eventually bought his first car with his own money a few months later.

Salami also used the moment to highlight upcoming projects. He announced progress on Make a Star in Ojo, a talent and production initiative he said had remained in development for about 12 years. The first film under that effort is titled Ojo Breed.

He said the first audition drew around 150 participants and that the programme has support from the Ojo Local Government Chairman.

On Kilanko, Salami said production had run for nearly three years and described the film as one of his most emotionally important works because it carries Ademola’s final directorial imprint.

For many viewers, the release now doubles as both a cinema event and a tribute to a filmmaker whose collaborations shaped several careers in the Yoruba screen space.

The interview also reflects a wider conversation in Nollywood about identity, language, money and legacy: how actors move between industries, how public narratives are managed, and how local-language cinema continues to expand its business and audience strength.

As the release date approaches, Salami’s comments place equal emphasis on grief and growth. He is mourning someone he called family, while pressing ahead with projects he believes can train new talent, sustain careers and strengthen the next chapter of Nigerian film.