This book critically examines the cultural, religious, and linguistic contestations within Kannywood, the Hausa-language film industry in northern Nigeria. It explores how filmmakers navigate religious expectations, cultural norms, and language ideologies while appealing to a diverse audience. Using audience reception theory and detailed analyses of selected films, the study reveals internal tensions-particularly regarding the dominance of the Kano dialect, the marginalisation of others, such as Sokoto&s, and the commodification of "broken" Hausa. It also highlights the challenges posed by global influences and conservative religious forces, positioning Kannywood as a contested space of identity, representation, and sociolinguistic negotiation.