On a night where elegance met emotion and applause masked deeper murmurs, the 2025 AMVCAs emerged not just as a celebration, but as a reflection. Beneath the shimmer of gowns and spotlighted triumphs, Africa’s storytellers gathered in Lagos to honour craft — and confront questions. From history to hope, acclaim to controversy, the night revealed more than winners; it showcased the soul of a cinema industry both rising and reckoning, report Entertainment Editor, GBENGA BADA and ADENIYI ADEWOYIN
In the glimmering heart of Lagos, where the city’s pulse thrums with the rhythm of dreams and industry, a night of cinematic reverence came alive over the weekend. The 11th edition of the Africa Magic Viewers’ Choice Awards (AMVCAs) lit up the Eko Convention Centre at the Eko Hotel and Suites, transforming Adetokunbo Ademola Street into a corridor of elegance, promise, and the triumphant sound of Africa’s creative ascent.
For an evening, the continent’s most brilliant filmmakers, actors, writers, editors and technicians stood in unity — not just as competitors in 27 prestigious categories, but as custodians of a growing legacy. A legacy nurtured from fan-voted beginnings and now elevated to a refined institution of peer-reviewed excellence, with 18 categories decided by a respected jury of seasoned professionals. From its modest origin to a revered hallmark of achievement, the AMVCAs have become more than an award ceremony — they are a celebration of Africa’s kaleidoscopic storytelling power.
Veteran broadcaster and showman IK Osakioduwa returned to the stage, this time joined by a striking young co-anchor — 16-year-old David Oke — whose charm and confidence belied his age. Together, they carried the ceremony with humour, grace, and a touch of generational balance, enlivening the three-hour broadcast that went live across all Africa Magic channels. The interludes between awards were textured with soulful performances from some of Nigeria’s finest: Johnny Drille’s acoustic melancholy, Serotonin’s infectious beats, Chima’s evocative melodies, Kunmie’s fusion sound, and Fido’s commanding presence each layered the night with musical elegance. But it was the stories — real and fictional, told and honoured — that reigned supreme.
At the very core of the night’s acclaim stood Freedom Way, a film that edged out the competition to claim the coveted Best Movie Award. Its victory was the climax of the evening, met with applause, admiration and — later — controversy. In a powerful and emotionally resonant sweep, Seven Doors emerged as a standout. Not only did it showcase the depths of human resilience, but it also delivered unforgettable performances. Femi Adebayo and Chioma Chukwuka, both icons, earned Best Actor and Best Actress respectively for their commanding portrayals. Composer Tolu Obanro made history as the inaugural winner of the Best Original Score, marking a new chapter in how the awards recognise the technical brilliance underpinning cinema.
The AMVCAs also celebrated linguistic diversity through Lisabi: The Uprising, a powerful historical narrative that scooped multiple honours — Best Indigenous Language Film (West Africa), Best Makeup, Best Art Direction, and the top award for Best Indigenous Language Film overall. The triumph was a vivid reminder of how indigenous stories continue to assert their importance in contemporary African filmmaking. The Legend of the Vagabond Queen of Lagos dazzled with its visual grammar, winning Best Cinematography through the lens of Leo Purman, while Inkabi was finely sculpted in the edit suite by Tongai Furusa, who won Best Editing. In supporting roles, Gabriel Afolayan’s compelling performance in Inside Life earned him Best Supporting Actor, while Mercy Aigbe, in The Farmer’s Bride, clinched Best Supporting Actress. Inside Life also triumphed as Best Scripted Series, reinforcing its cultural and narrative relevance.
Reflecting the rapidly shifting media landscape, this year’s AMVCAs embraced digital content and short-form storytelling with a sincerity that mirrored Africa’s youthful demography. Iyo Prosper Adokiye was named Best Digital Content Creator, validating a new era of creators who wield smartphones as storytelling swords. Brukaci secured Best Short Film, a quiet triumph for brevity and impact. The unscripted world also found its spotlight. Nigeria Idol, a consistent ratings magnet, was lauded as Best Unscripted M-Net Original, while Wa Milele walked away with the Best Unscripted Series title — evidence of the enduring power of real-life storytelling.
One of the night’s most-stirring moments came when Kayode Kasum received the Trailblazer Award. The young director, known for his fresh visual language and sensitivity to contemporary narratives, was visibly moved as he accepted the accolade — a symbolic passing of the torch to a new generation. Equally poignant was the presentation of Industry Merit Awards to Nkem Owoh and Sani Mu’azu. For decades, their faces and voices have animated African living rooms, their artistry shaping the very fabric of Nollywood. Their honour was less a nod to the past and more a declaration that legends walk among us.
The Best Director Award went to Awam Amkpa for The Man Died, a film that had swept 13 other industry awards and closed the African Film Festival at Lincoln Centre in New York. His win was, however, not without raised eyebrows, given that the film’s producer, Femi Odugbemi, also chaired this year’s AMVCAs jury.
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Other notable wins included Suspicion for Best Sound Design, Christmas in Lagos by Ademola Adeyemi for Best Costume Design, and Freedom Way again for Best Writing in a Movie — further reinforcing its dual status as both a narrative and structural feat. Untying Kantai by Abel Mutua Musyoka took Best Writing in a TV Series, showcasing cross-regional talent.
From Lusaka to Lagos, Nairobi to Nelspruit, the continent spoke through film. Regional categories reminded everyone that African cinema is not a monolith. Mwizukanji triumphed as Best Indigenous Language Film (South Africa), Makosa Di Tangu for East Africa, and Onye Agbata Obim as Best Indigenous M-Net Original. My Fairytale Wedding was honoured as Best Scripted M-Net Original, while the Best MultiChoice Talent Factory Film, Everything Light Touches, underscored the future promise of emerging creatives.
As the confetti settled and applause echoed into the Lagos night, murmurs of discontent began to rise. At the centre of controversy were two of the night’s biggest wins — Best Director and Best Movie. While no one doubted the cinematic excellence of The Man Died, critics pointed to a conflict of interest. That its producer also presided over the jury cast a shadow, however faint, on what should have been an unambiguous triumph. Could the jury have recused itself from categories involving its own productions? Was transparency sacrificed for excellence?
The Best Movie award to Freedom Way also sparked debate. How did a film without nods for Best Cinematography, Editing, Acting, or Art Direction emerge as the overall winner? It raised questions not about the film’s merit, but the coherence of jury decisions and the criteria employed. The AMVCAs, now partly peer-reviewed, stand at a delicate intersection — between crowd-pleasing and critical rigour, between spectacle and scrutiny. The controversies, while unfortunate, are perhaps proof of a maturing industry. One that is not afraid to ask questions of itself.
The 2025 AMVCAs were, undoubtedly, a visual and cultural feast — a night of celebration, self-reflection, and cinematic splendour. They showcased the best of what Africa has to offer: audacity, originality, craft, and colour. But they also left room for introspection. As African cinema continues to expand its reach — to streaming platforms, global festivals, and new audiences — so too must the standards of honour and judgement evolve. For now, the stars have taken their bows, the gowns and tuxedos returned to their wardrobes, and the afterparties faded into memory. But what lingers is the promise of a continent forever in bloom — telling its stories, in all their beauty, complexity, and contradictions. The AMVCAs are not just awards. They are a mirror. And on May 10, Africa gazed proudly at its reflection — bold, bright and ever becoming.
Speaking on the significance of this year’s event, Executive Head of Content and West Africa Channels at MultiChoice, Dr. Busola Tejumola, offered a reflection as stirring as the night itself. “The AMVCAs reflect the ambition of a continent in motion. These stories are no longer emerging, they are defining global conversations. Africa Magic and MultiChoice are proud to be the platform of that power,” she said.
Her words rang true. From the grandeur of the red carpet to the sincerity of acceptance speeches, from the musical interludes to the cultural fusion of nominees across Africa, the night offered more than awards — it offered a statement. A statement that African cinema is not waiting to be discovered. It is writing itself boldly into the global narrative.
Industry insider defends jury integrity amid criticism
The Nation reached out to the organisers of the AMVCAs for a response to the growing conversations and controversies but none was given.
Speaking on condition of anonymity, an industry insider defended the integrity of the process, particularly regarding the Best Director win for The Man Died, directed by Awam Amkpa and produced by Odugbemi, who also chaired this year’s jury. “I don’t understand the noise about Anwa Akpam winning Best Director for the film, The Man Died.
Yes, Odugbemi is the producer but that doesn’t stop him from submitting his film. All these while he has been submitting his works that didn’t get nominations or didn’t get to win, no one has made any noise.
“I can tell you that the policy is that when a judge or head judge submits a film for the award, he or she doesn’t even know if the film will get a nomination or not but if the film gets a nomination and it’s time for voting, the judge is excused from judging his or her own film. Odugbemi is a man of high integrity and I can tell you that the organisers of AMVCAs don’t joke with such thing as integrity but you know people are always aggrieved year in year out that their favoured films didn’t get the expected wins,” he said.
