Nigeria can be termed as the ideal exampleofa multilingual and multiethnic country with the estimated population of above 200 million inhabitants speaking over 500 languages and representing various ethnic communities (Eberhard et al., 2023). The heterogeneity has ensured that language and ethnicity are the focal point in the sociocultural life of Nigerians with linguistic identity playing a key role as a heritage, cohesiveness, and even a point of contention. The name is not arbitrary in African society in general or Nigeria in particular, but can be defined as a cultural text, with the help of which the identity of the individual, the family, and community is negotiated and communicated (Ogwudile, 2019). To examine language in Nigeria is, then, to examine how the process of naming, speech and cultural representation reflect social realities. The importance of names and linguistic markers is even more in Nollywood films. Nollywood is not just an entertainment industry, but, as Haynes (2021) has argued, is a cultural arena in which concepts of Nigera are practiced, bargained and reproduced. Nollywood anticipates the plurality of Nigeria by using ethnic agents like names, accents, and idiomatic phrases, but in doing so, by applying them in a purposeful way; it provides the narratives of unity. Specifically, the stylistic and narrative tool of using names gives clues on how the filmmakers cope with the intricacy of Nigerian identity. As an example, Abunike and Arinze-Umobi (2024) note that Nollywood movies tend to reestablish ethnic identities with the help of naming, enabling the audience to recognise and criticise sociocultural affiliations