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Prestige, Impact: Why AMVCA is the People’s Award Show

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AMVCA Celebrating African Cinema

By Tutu Akanni

As the 11th edition of the Africa Magic Viewers’ Choice Awards (AMVCA) approaches, public attention, once again, has been drawn to MultiChoice’s consistent excellence and ability to deliver structure and spectacle, especially in contrast to the growing dissatisfaction with other industry award platforms.

Just days after the 2025 edition of the Headies left fans and industry stakeholders disappointed, with confusion marking much of the night’s proceedings, a new conversation has taken over the Nigerian entertainment space.

While the Headies stumbled through yet another year of technical lapses and disjointed programming, attention has swiftly shifted to a platform known for its meticulous execution: Africa Magic Viewers’ Choice Awards (AMVCA), set to hold its 11th edition on 10th May.

What is surprising is not just the public frustration with the Headies but the growing number of voices openly calling on MultiChoice Nigeria, the organisers of AMVCA, to take over the management of other awards, including the Headies.

In an industry where spectacle often overshadows organisation, the AMVCA has built a reputation for doing things differently. And as many observed over the weekend, the gap in professionalism and prestige is no longer subtle; it’s glaring.

Over the last decade, the AMVCA has grown into one of the continent’s most influential cultural events. Since its debut in 2013, it has not only celebrated African storytelling with consistency and class but has also contributed significantly to the Nigerian economy. In that time, MultiChoice Nigeria has invested over ₦9 billion directly in the production of the AMVCA, including awards, training, and talent development initiatives.

More than 27,000 jobs have been created as a result of the event and its extended ecosystem, spanning event production, content creation, media, logistics, fashion, and hospitality. The awards have recognised over 300 exceptional

talents across various categories, offering a platform that truly reflects the diversity and dynamism of the continent’s film and television space.

Even more impressive is the over N623 billion channelled into the Nigerian film and television economy through MultiChoice’s broader investment in content and infrastructure, an economic impact that places AMVCA at the centre of Africa’s creative renaissance.

The contrast between AMVCA and the recent Headies could not be more pronounced. While the former struggled to hold the audience’s attention and, in some cases, even manage the basic technical requirements of a live show, the AMVCA has built a legacy of excellence, year after year. From world-class stage design to tight production schedules, transparent nomination processes to glamorous red carpet experiences, every aspect of the AMVCA is marked by intention and execution.

It’s no wonder that public sentiment is leaning heavily in favour of MultiChoice, with the public praising the structure and credibility AMVCA has consistently delivered.

These are not random musings; they reflect a real hunger for higher standards in how we celebrate and elevate African talent.

As the AMVCA returns, it is clear that it has become more than an award show. It is a cultural institution, a symbol of what is possible when investment, planning and passion come together to celebrate creativity. While other platforms grapple with inconsistency, the AMVCA continues to raise the bar, demonstrating that excellence is not accidental but built over time with vision and commitment.

This year’s AMVCA introduces a significant innovation: the ‘Best Music Score’ category.

While this might seem like a small change on paper, it’s a major shift in practice. This move addresses longstanding criticism of music’s critical role in film storytelling. By recognising composers and sound designers, the AMVCA acknowledges the intricate layers that music adds to cinematic narratives, enhancing emotional depth and audience engagement.

The introduction of this category is more than a nod to musical contributors; it signifies the AMVCA’s commitment to evolving with the industry’s standard and recognising all facets of film production. It’s a testament to the awards’ dedication to inclusivity and comprehensive recognition of talent.

Even this year’s nominee list reflects the same spirit of rebirth. While iconic names continue to appear, there’s a visible shift toward rising talents and first-time nominees. In categories like Best Lead Actress and Best Supporting Actor, younger stars like Gbubemi Ejeye and Darasimi Nnadi are taking centre stage. It’s a generational handover unfolding in real time, an intentional celebration of both legacy and new blood.

Behind the scenes, the awards maintain their credibility with a top-tier jury led by FemiOdugbemi, a respected filmmaker and culture advocate, who serves as Head Judge. His decades-long dedication to African cinema adds weight and wisdom to the selection process. The jury includes a mix of professionals across directing, cinematography, writing, and production, ensuring that recognition goes to those who truly deserve it, with fairness and rigour.

But beyond the glitz, what makes AMVCA such a powerful platform is the sense of purpose that drives it. It understands that African storytelling is not just about entertainment; it’s about identity, legacy, and pride. And it treats its audience with respect, understanding that credibility is built not just through applause but through consistency.

In stark contrast, the recent shortcomings of other award platforms highlight the importance of structure and vision in executing events that honour artistic achievements, like the recent fallout from the most recent award ceremony.

Viewers have called out the chaotic sequencing, last-minute venue changes, and awkward stage moments that plagued the event.

In a time when many industries are re-evaluating what excellence looks like, the AMVCA stands as proof that African institutions can lead at a global standard. And it continues to grow, not by accident but by design.

In the final analysis, the question may no longer be how to fix broken platforms but how to replicate what the AMVCA has done right. And if recent conversations are anything to go by, more and more people believe that the answer lies in letting those who understand structure, scale, and purpose lead the way.

 Akanni, a culture enthusiast, writes from Lagos

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Nigerian Idol: The Top 10 Are In, and the Stakes Just Got Higher

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Nigerian Idol Season 10 contestants

There’s something about the Top 10 reveal episode of Nigerian Idol that always hits differently, and Season 10 delivered all the feels. From nerves to tears and surprises to pure joy, this week’s episode was a mix of hope, heartbreak, and everything.

The show kicked off with a look back at the contestants in action, rehearsals, performances, and those iconic judge reactions we’ve come to love. But it wasn’t just a trip down memory lane. With 25 contestants left and only 10 golden spots available, it was time to make some life-changing decisions.

One by one, the contestants walked into the judges’ room to find out if they’d made the cut. If it was a yes, their photo went up on the Top 10 wall. If it was a no, they took it down and faced the end of their Idol journey.

Mikki was the first to be called in, and what a way to start. His performance left Ric Hassani visibly moved, and it wasn’t long before we found out why: he was through to the Top 10. Raymu came next, and though a few nerves tried to get in the way, his talent couldn’t be ignored. The judges called them in together, teased them a little (as usual), and then gave them the good news that they both made it.

Ellacentric followed with a stunning performance and earned her place with grace and emotion. The same couldn’t be said for everyone, though. Talented contestants like Sapphire Whinnas, Rosella, David Daffe, Ander, Richie Jay, and Tessy had to say their goodbyes. Their journeys might have ended on the Idol stage, but their passion and performances won’t be forgotten anytime soon.

As the day unfolded, we saw more dreams come true. Jkenova, Lawrence, and Purp joined the growing list of finalists. By the end of the episode, the Top 10 was locked in.

Here they are: Mikki, Raymu, Ellacentric, Kristopher, Sally, Boss Lady, Brammy, Jkenova, Lawrence, and Purp.

With the live shows just around the corner, the competition officially enters its most thrilling phase. These ten have proven they have the voice, the presence, and the passion, but now they’ll need to bring their A-game to every single performance.

The countdown to live shows begins, and if this episode taught us anything, it’s that anything can happen.

Catch Nigerian Idol Season 10 every Sunday at 7 p.m. on Africa Magic Showcase (DStv Ch. 151, GOtv Ch. 12) and Africa Magic Family (DStv Ch. 154, GOtv Ch. 2). For behind-the-scenes moments and round-the-clock Idol content, tune in to the 24/7 Idol Extra channel (DStv Ch. 198, GOtv Ch. 49).

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Cannes Film Festival Selects Nigeria’s ‘My Father’s Shadow’

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Cannes Film Festival

By Adedapo Adesanya

Nigeria has made history at the prestigious Cannes Film Festival with My Father’s Shadow becoming the first Nigerian film in its official selection.

The film, which premieres in the Cannes Film Festival’s Un Certain Regard section, is produced by Rachel Dargavel of Element Pictures and Fumnbi Ogunbanwo for Lagos-based Fatherland Prods.

It was directed by Akinola Davies Jr, who also co-wrote with his brother, Wale ‘Tec’ Davies of the Show Dem Camp rap duo. The brothers also served as executive producers.

Held every May in the city of Cannes, France, the Cannes Film Festival is the world’s most prestigious film event, bringing together top filmmakers, actors, and industry professionals to celebrate cinematic excellence. Since its inception in 1946, the festival has become a global stage for premiering groundbreaking films.

My Father’s Shadow is a semi-autobiographical film featuring Gangs of London star Ṣọpẹ́ Dìrísù and is set in Lagos during the June 1993 election annulment.

The film follows a father and his two estranged sons as they travel across the chaotic metropolis while political unrest threatens their homeward journey.

Dìrísù plays Folarin, a hard-luck breadwinner trying to provide for his family, and breakout talents Chibuike Marvellous Egbo and Godwin Egbo as his two young boys – Remi and Akin.

The film begins on a pivotal June day in 1993, as Nigeria is eagerly awaiting the results of its first democratic election since the military coup that brought General Ibrahim Badamasi Babangida to power. The unofficial results suggest a victory for the opposition, leading millions of Nigerians to hope, which is slogan of Moshood Abiola, who is widely believed to have won the election.

On that fateful day, Folarin embarks on a journey to collect several months’ of owed salary from his employer in Lagos. With his wife out of town, he begrudgingly allows his sons to tag along, not knowing that the country is on the brink of an electoral crisis.

The story is based on the Davies family and is composed in the form of a letter to their late father (who Folarin is based on) with Wale Davies writing the script more than ten years ago, with touches and input from his director brother in critical stages over the years.

Wale Davies says My Father’s Shadow is also a tribute to Lagos, a city whose daily life, often resembles a movie set.

Everything looks like a film,” he says, “I could look on my street — there’s just always something exciting happening.”

The brothers had collaborated on the short film Lizard, which won the Grand Jury Prize at Sundance and was nominated for a BAFTA.

Mubi, which acquired the film ahead of its Cannes debut, is planning a theatrical release in North America and the United Kingdom. The Match Factory is handling international sales, with a possible Nigerian cinema release anticipated.

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Lagos to Host AFRIMA 2025

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AFRIMA-Trophy

By Adedapo Adesanya

The African Union (AU), in collaboration with the All Africa Music Awards (AFRIMA), has announced Lagos, Nigeria, as the host city for the 2025 edition of the music awards.

The announcement was made at the AU headquarters in Addis Ababa, Ethiopia, by the Head of Culture at the African Union, Ms Angela Martins.

The awards ceremony, along with side events, including the vibrant Music Village Festival, is scheduled to take place from November 25 to 30, 2025.

Ms Martins describes this year’s theme, “Unstoppable Africa,” and the choice of Lagos as its host, as a reflection of the vibrancy, brilliance, and dream of modern African music, which the city represents.

“Music is not merely sound, it is a strategy. From Dar es Salaam to Acrra and other parts of the world, music flows like a river through our culture, and it connects, heals, and moves us forward,” Martins said, explaining the AU’s enduring partnership with AFRIMA.

The AFRIMA 2025 calendar starts with a call for entries on May 20, inviting submissions from African artists across the continent and the diaspora.

Artists can submit works across various categories and genres as part of this celebration of musical excellence, an initiative aligned with the AU’s Agenda 2063, which champions culture as a driver of development in Africa.

AFRIMA has served as a powerful platform for cultural exchange and continental integration.

AFRIMA’s President, Mr Mike Dada, reiterated this mission, saying that AFRIMA is a rallying point to further integrate the continent.

“This is to ensure we have an enduring platform called AFRIMA to be used as a rallying platform to integrate the continent, for peace, job creation, and for telling our own stories,” Mr Dada said.

The road to AFRIMA 2025 will also include events in other African countries, including Morocco, Tanzania, and Côte d’Ivoire, and will also make stops in London, UK, and Paris in France.

Last month, the Governor of Lagos State, Mr Babajide Sanwo-Olu, declared the state’s readiness to host Africa and the world for the 2025 edition of the AFRIMA.

Speaking when he received a high-powered delegation from the African Union and the AFRIMA International Committee in his office, Mr Sanwo-Olu stated that Lagos’ acceptance to host AFRIMA 2025 aligned with his administration’s vision to make the creative and tourism industry a major pillar of the state’s development drive.

The governor said, “One of the key pillars of our administration’s development agenda is the creative industry. Since I took office, we’ve been intentional about building a vibrant creative ecosystem supporting film, music, fashion, photography, and cultural tourism.

“We are happy to receive the AFRIMA team; we will do it, and we will be part of this. This is one initiative we are proud to accommodate. Our team will work together with your team to action this. We thank the African Union and the AFRIMA Committee for trusting Lagos.”

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