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Tag: films

  • ‘Diversity, representation central to conversations in filmmaking’

    ‘Diversity, representation central to conversations in filmmaking’

    Founder and CEO, Adinon Film Studio, Mr. Michael Okpara is one of the leading players in the film industry. He has over two decades of expertise in film production, consultation and industry leadership. With a proven track record of delivering high-quality projects and fostering successful collaborations within the entertainment industry, Okpara speaks on the power of film to shift perspectives and create cultural moments, the democratisation of filmmaking tools and access, how trust and transparency sustain collaboration, his love for authentic storytelling that impact people, OZOLUA UHAKHEME reports

    Your journey in the entertainment industry?

    My journey in the entertainment industry began with a deep love for storytelling. I started out in development at a small production company, reading scripts and writing coverage, which gave me an incredible foundation in understanding what makes a story work. From there, I worked my way up through various production roles, eventually producing my first independent film. That project solidified my passion for shepherding stories from concept to screen. What led me here was a combination of persistence, collaboration with incredible creatives, and a genuine belief in the power of film to shift perspectives and create cultural moments.

    What are some of the most significant projects you’ve worked on throughout your career and what impact did they have on the industry?

    A few projects stand out. One was an indie drama that went on to become a festival darling and sparked important conversations about mental health—it proved that small films can have massive cultural impact. Another was a mid-budget genre film that redefined expectations for representation in casting and storytelling; it not only performed well commercially but also shifted how studios viewed inclusivity as both artistically and financially viable. Most recently, I produced a streaming series that blended traditional narrative with interactive elements, pushing boundaries in viewer engagement. Each of these projects contributed in some way to evolving the industry’s understanding of what audiences want—and need—from modern content.

    Your impression of how the film industry has evolved over the past two decades?

    The biggest shift has been in distribution and how audiences consume content. When I started, theatrical releases were the gold standard. Today, streaming platforms dominate the conversation. We’ve also seen a democratisation of filmmaking tools and access — people are making incredible films with minimal budgets and reaching global audiences. On the business side, data and algorithms now play a much larger role in green lighting decisions, which has its pros and cons. Diversity and representation have also become central conversations, and we’re finally seeing some real changes in whose stories are told and who gets to tell them.

    Read Also: OMONI OBOLI: I don’t produce YouTube films for accolades

    What has been the most challenging project you’ve worked on, and how did you overcome them?

    One of the most challenging projects was a historical drama we shot in an international location with a tight schedule and budget. Logistically, it was a beast — weather issues, permit problems, and language barriers all posed real hurdles. But what got us through was a relentless, problem-solving mindset and a team that believed in the story we were telling. I leaned heavily on local production partners and focused on building trust and flexibility into every part of the process. The experience taught me that preparation is crucial, but adaptability is what actually gets a film made.

    What has contributed most to your success in delivering high-quality projects?

    Strong relationships and commitment to story above all else. I’ve been fortunate to work with incredibly talented individuals, and I make it a priority to create an environment where people feel empowered to do their best work. I also focus heavily on development—if the story isn’t strong on the page, it won’t work on the screen. A disciplined approach to development, coupled with clear communication, has consistently delivered results.

    How do you foster collaboration among diverse teams to ensure a project’s success?

    It starts with cultivating trust. I make it a priority to listen actively and ensure everyone feels heard and valued. I also believe in transparency—being upfront about challenges and expectations. Every voice brings something unique to the table, so I encourage open dialogue and create structured opportunities for cross-departmental collaboration. A united team with shared purpose is unstoppable.

    What current trends do you see shaping the future of film production and the entertainment industry?

    We’re in a transformative era. Virtual production, AI-assisted tools, and real-time rendering are speeding up workflows and lowering costs without compromising quality. Audiences are also becoming more global, which is leading to a greater demand for culturally authentic stories. There’s a shift toward hybrid distribution models too, where streaming and theatrical releases co-exist in more strategic ways.

    How important is diversity within the industry, and how can it improve inclusivity?

    Diversity is essential—not just for fairness, but because it enriches storytelling. Different voices bring new perspectives, which leads to more authentic and emotionally resonant films. To improve inclusivity, we need to create more opportunities at all levels—from casting and crew to decision-making roles like directors and producers. Mentorship programmes, inclusive hiring practices, and access to funding for underrepresented creators are key steps.

    What role will technology play in the future of filmmaking?

    Technology is already transforming the way we tell stories, and that trend will only accelerate. Virtual production, AI tools, and real-time rendering are reducing barriers and enabling more imaginative worlds. But tech should always serve the story—not replace creativity. I see it as a partner in the creative process, not the director.

    What legacy do you hope to leave within the industry?

    I hope to be remembered as someone who championed authentic storytelling and opened doors for others. I want my legacy to be about impact—projects that made people feel something, and a career that helped lift other voices into the spotlight.

  • Survival of the Fittest: Comparing Post-Apocalyptic Characters in Films and Games

    Survival of the Fittest: Comparing Post-Apocalyptic Characters in Films and Games

    Apocalyptic settings breed stories of grit and resilience, the kind of narratives where characters aren’t just surviving; they’re evolving. In both films and video games, the post-apocalyptic genre gives rise to complex protagonists shaped by devastation, loss, and necessity. Yet the medium heavily influences how these characters are portrayed and how audiences connect with them. Let’s explore how post-apocalyptic characters are constructed across films and games and why their differences matter.

    Defining the Post-Apocalyptic Archetype

    Survivors in apocalyptic worlds often share core traits: adaptability, emotional detachment, raw physical skill, and a moral compass constantly tested. But these traits manifest differently in interactive and passive storytelling formats.

    In film, character arcs are tightly directed, often focusing on the psychological toll of survival. Think Max Rockatansky from Mad Max — a lone drifter hardened by loss, haunted by memories, surviving more on instinct than hope. His actions unfold in a visual, symbolic way, designed to be interpreted rather than altered.

    In games, character development can be partly shaped by the player. Joel from The Last of Us isn’t just a scripted protagonist — he’s an avatar for the player’s choices. His transformation from a detached smuggler to a protective father figure is immersive because players experience it gradually, through action, consequence, and connection.

    Medium Matters: Film vs. Game Storytelling

    Element Film (e.g., Mad Max, Resident Evil) Games (e.g., The Last of Us, Fallout)
    Story Structure Linear, pre-written arc Player-driven, branching possibilities
    Character Engagement Emotional, interpretive Immersive, interactive
    World Exploration Fixed locations, visual set-pieces Expansive, explorable environments
    Emotional Investment Based on performance and cinematography Based on control, choice, and time spent

    Films rely on performance, visuals, and soundtracks to convey emotion. Games, on the other hand, create emotional stakes by giving players control — not just over the story’s direction but over the rhythm and method of survival itself.

    Complex Survivors: Joel, Max, Alice

    Let’s break down how three major post-apocalyptic characters compare across their respective media:

    Character Medium Key Traits Growth Arc
    Joel (The Last of Us) Game Grizzled, pragmatic, emotionally guarded Becomes emotionally open through fatherly bond
    Max (Mad Max) Film Stoic, haunted, physically dominant Struggles to reclaim his humanity
    Alice (Resident Evil) Film Tactical, fearless, ethically driven Evolves from civilian to powerful symbol of resistance

    While Max represents the archetypal drifter and Alice becomes a near-mythical savior, Joel’s arc is more intimate. He’s fallible, often unlikeable — but real. The gaming format allows players to influence or at least embody his path, making his journey resonate differently.

    Interactive Apocalypse: Games Offering Unique Perspectives

    Beyond characters like Joel, the gaming world has shown remarkable creativity in constructing apocalyptic narratives. One intriguing direction is the blend of slot mechanics with thematic storytelling. Post-apocalyptic online slots like those featured in a NoLimit City Demo offer a surprisingly vivid lens through which to examine the genre. These games tap into the iconography and energy of destruction and survival, often with cinematic animations that echo the chaos of their settings.

    While they’re not narrative-driven in the traditional sense, these slots use atmosphere, design, and pacing to convey a post-apocalyptic mood. They open up another angle to explore how digital media experiments with these themes, even in non-narrative formats. For those studying the intersection of gaming and apocalypse tropes, these video slot demos can be unexpected but valid resources.

    Survivor Archetypes in Film and Gaming

    Characters tend to fall into recognizable survivor types. Here’s a list that spans both mediums:

    • The reluctant protector who is often older, hardened, and tasked with protecting a child or innocent (Joel, Logan).
    • The avenger who is motivated by loss and is focused on revenge or justice (Ellie, Furiosa).
    • The loner who is withdrawn, distrustful of others and prefers isolation (Max, Courier from Fallout: New Vegas).
    • The savior who sees a larger purpose in survival and often takes leadership (Alice, Aloy).
    • The morally conflicted, who struggles with guilt and often makes controversial choices (Lee from The Walking Dead, Rick Grimes).

    Each of these roles interacts differently with the world around them. The gaming format enhances this by placing the player in the character’s shoes — forcing them to make choices that affect not just outcomes but moral identity.

    Why This Comparison Matters

    In understanding the divide between film and game storytelling, we uncover how post-apocalyptic characters are molded not just by the world around them but by the medium that presents their story. Films excel at distillation — showing transformation in tight arcs and symbolic gestures. Games, on the other hand, give players the burden of survival — demanding participation, endurance, and emotional investment.

    That fundamental difference shapes the characters we remember. Max is a myth. Alice is a hero. Joel is someone we’ve walked beside, bled with, and maybe disagreed with — and that makes him something else entirely.

    The strength of the post-apocalyptic genre lies in its universality. Whether you’re watching it unfold in a movie theater or navigating it with a controller in hand, the theme remains clear: survival reveals who we truly are deep in our hearts and souls.

  • Beware of grammatical errors in Nollywood films

    A linguist, Mrs Olufunmilayo Awoyoolu, on Sunday in Ilorin, expressed concern over grammatical errors in subtitles in some Nigerian movies.

    She told the News Agency of Nigeria (NAN) that spelling and grammatical errors have become
    common in movie subtitles in Nigeria, saying “this does not portray our educational standards well.’’

    She explained that subtitles were printed translation of dialogue in foreign-language movie, usually appearing at the bottom of the screen.

    She said that she had noticed over time that movie producers never took time to translate and subtitle words correctly.

    According to her, this is especially common with Yoruba and Hausa movies.

    She added that “most subtitles in these movies are direct translation from mother tongue and for
    a person who does not understand the language used in the movie, it becomes confusing.

    “I think time should be taken to subtitle sentences, professional hands should be sought and there is no need to rush the production of movies.

    “In the western countries, they have come to a point that it may take a year or years to produce a movie just because they want the best out of it.’’

    She, therefore, advised Nigerian movie makers to pay attention to subtitling, noting that
    using wrong expressions would portray those in the industry as not well educated.

  • A break from music videos and films

    GROWING up, there were days we ran home to see Sesame street, Village Headmaster, Checkmate, Mirror In The Sun, Ripples etc. Today, there’s really no TV programme to run home to see. Even the Mexican soap craze has dwindled. The youths are more addicted to music videos, and foreign films, just as the women are fans of Nollywood home videos. But the world around us is changing, and television viewership is not just about entertainment.

    Taking the children’s mind away from cartoons once in a while is to engender in them other interests in life, thereby completing the circle of education.

    The Nigeria media prioritizes political stories; while perhaps business stories come next, pushing human interest stories to some obscure corner, except in cases of big disasters. There should be a conscious effort to play up inspirational issues of society; it is the only evidence of hope in this period of great oddities, which many call ‘signs of the end time.’

    I was endeared to this subject after watching the second episode of Airtel Touching Lives last Sunday.

    So many stories about life are unfolding that cannot be captured by the conventional media, especially in the absence of government involvement. Filmmakers have captured some of these experiences in true life stories, but an entertainment piece is an entertainment piece. Programmes such as the late Kola Olawuyi’s Nkan Nbe, and Segun Adisa’s Labe Orun are more thought-provoking. They belong to a class of reality TV shows that present life in its bare nakedness. They are grass-root programmes through which the common man finds a voice. The producers are more accessible to the people than their conventional counterparts, and the the programmes use the traditional language of the people.

    We need to bring our society close to us. Oshodi is such a distance from Mushin without the media helping in making the world a global village. But the irony is that our youths are closer to America in their orientation, than their immediate neighbourhood. And as the spectrum gets wider with the planned migration from analog to digital TV, it is pertinent to look in the way of human interest stories; true life stories that could help government and the governed to make better choices.

    Last week, I had the opportunity of seeing Episode 2 of Airtel Touching Lives give a lifeline to a man who battled an unknown, debilitating disease for several years. It also captured how the project sponsors; telecommunications company, Airtel, employed innovative means to help several women and children in a community in my home State of Osun.

    In a preview of the maiden episode of that season, which kicked off two weeks ago, the sponsors also fulfilled their promise to Season 1 beneficiary, Mr. Essien Obong; a mathematician/software writer who became blind after an armed robbery attack. The Telco came to his aid by providing him with a customised laptop, bespoke Braille machine, and other computer software to support him.

    Although Airtel’s aim maybe purely Corporate Social Responsibility (CSR), it has complemented the role of the conventional media by bringing some of these hidden stories to the fore. I see many more such touching stories finding their way to the front of the sponsor’s camera.

    Also in the flashback, Episode 1 saw a foundation known as ‘Centre for Citizens with Disabilities,’ getting assistance from the Telco. The Foundation was founded by David Anyaele; a social support activist, whose hands were amputated by Revolutionary United Front (RUF) rebels in 1999 while on a business trip to Sierra Leone during the Civil War there – the inspiring story of a man trying to change the world in his own little way, despite his disability.

    It was interesting to know that with the aid of prosthesis, and the support of family, and friends, Anyaele recovered quickly to not only carry on the burden of life and living, but also to canvass for the support of the less privileged. He brought quite a few in the audience to tears with his moving story, while expressing utmost appreciation to God for sparing his life, and to Airtel Nigeria, for donating laptops, printers, desks, photocopiers and other office equipment to enable him do his work of mercy and faith.

    Through the Touching Lives platform, Airtel has been promoting the spirit of giving, self-sacrifice, and love among Nigerians. An example like this is needed in these hard times.

    And as the programme enters Season 3 tomorrow, there is reaffirmation by the sponsor to the less privileged members of the society.

    I enjoin you to also make out time to see this life changing experience on Africa Magic Channel 151 from 7.30-8.00pm. A sneak preview of Episode 3 takes viewers to the city of Ibadan, Oyo State, where help came the way of some less privileged kids. I also can’t wait to see details of how a 47 year-old man, Gbenga Adesida, who was born blind was empowered to deal with the situation, and other challenges.

    I want to see more of such programmes going forward and get inspired.

  • iROKO raises $19 million for Nigerian films

    iROKO raises $19 million for Nigerian films

    Online marketing platform for Nollywood films, iROKO, has brazed up for a more aggressive commercial year in 2016, with its announcement of multiple deals totaling $19m, both in content development and capital funding.

    The deal, according to the mobile entertainment and internet TV Company, is coming from French media giant CANAL+, its existing investor Kinnevik AB, and personal cash flow.

    This is coming few weeks after Hollywood online entertainment distribution giant, Netflix announced it is coming to Africa.

    Management of iROKO believes that its new deal will help scale its operations and expand aggressively across the continent.

    The new deal puts its total funding to about $40 million, having raised $8 million from Tiger Global and Kinnevik in 2013, and added Rise Capital to close the series D round.

    iROKO is expected to channel the investment into local content financing and production, as well as its product and engineering teams in Lagos and New York to produce at least 300 hours of original content in 2016.

    The deal is also bringing Jacques du Puy, President of Canal+ Overseas into the board of iROKO, as the partnership is expected to scale-up film production and distribution in French-speaking African countries.

    “With millions more Africans poised to come online via mobile in the coming years, our mission is to lead viewers to content they’ll love. This is something the vast majority of the continent struggles with today. We hope to bridge that divide, and this additional investment supports such a plan. For us, there is no version of reality where the marriage between Africa’s most powerful communication tool [mobile] and the most prolific and loved entertainment provider [Nollywood] won’t be a joyous union,” says Jason Njoku, CEO and Co-founder of iROKO.

    According to Njoku, “Mobile phone subscriptions in Africa are almost at 1 billion and by 2019, it is predicted that smartphone handsets, with which viewers can watch content, will make up 73% of the continent’s devices,” adding that “The challenges surrounding mobile TV in Africa are mighty, but not insurmountable.”

    iROKO which currently has a mobile app for Africa, holds distribution deals with Canal+, BA, Emirates, Nollywood TV and Lebara and has two Linear TV channels on Africa’s Star Times.

  • Danpalogo Films presents Itire/Ikate Carnival

    Danpalogo Films presents Itire/Ikate Carnival

    Danpalogo Films and Records, a movie production and event promotion outfit, has concluded plans to hold the 2015 edition of its annual carnival tagged Loud in Itire/Ikate, Ijesha.

    Slated for December 12 at Mogaji Street, Ijeshatedo, Lagos, organisers say that the carnival will parade the best of Nigerian entertainers.

    CEO of the outfit, Odugbesan Tolulope Daniel, said that the purpose of the carnival is not just to showcase the upcoming talents in those communities but also “to develop our socio-economic value.”

    Daniel said that with over 13 years in the Nigerian entertainment industry, he started as a personal assistant in some Nollywood movies. From there, he ventured into interpreting roles in Nollywood movies. Among the films he has starred in are Tears of the Mother, Lagos No Laff, Adekodere, Afoju Toun Topa and a host of others. From acting movies, he said, he switched to promoting artistes and organising shows.

    “I have promoted a lot of Nigerian hip hop and Fuji artistes like Alhaji Wasiu Alabi Pasuma, Saheed Osupa, Muri Alabi Thunder,” he said.

    Remi Aluko, Koffi da Guru, Bigiano, Slim Joe, Otiyanyan, Sehinde, Jo, C West, Razor, Terry Apala, Snow, Mariostyle, Pherary, Eronz B, Damoon, Gbosa, Mayor Dagunro, High Boya, Hafwasman, Makayana, Remsolid, Dry Gin, Venom, Koloman, DJ Sprint Tee and a host of others are among those stated to perform.

    The event will be hosted by Mcs Okele, Koloman, Praisemachine, and Shaba.

  • AFRIFF 2014: Organisers announce festival’s top films

    AFRIFF 2014: Organisers announce festival’s top films

    •Invasion 1879 gets special screening

    The organisers of the annual Africa International Film Festival (AFRIFF) have announced The Square, an Oscar-nominated documentary by Egyptian filmmaker, Jehan Noujaim, as the opening night film and Hard To Get, from first-time feature director, Zee Ntuli, as the closing night movie.

    The festival’s Artistic Director, Keith Shiri, said during a press conference at the Eko Hotel and Suites, at the weekend, that AFRIFF 2014 would once again celebrate the amazing artistry that African filmmakers are known for.

    He said: “Our opening night film is The Square, an Oscar-nominated documentary by the Egyptian filmmaker, Jehan Noujaim. This is a stunning film that charts the course of three years of Egyptian political upheaval that began in 2011. Our closing night film, Hard To Get, is a compact, highly enjoyable, kinetic and action thriller. The young South African director, Zee Ntuli, displays a mastery of the action genre with breezy performances from its main cast.”

    Shiri, who was flanked by AFRIFF Founder/CEO, Chioma Ude as well as the festival’s Goodwill Ambassadors, South African actress Xolile Tshabalala and Nollywood star Rita Dominic, noted that this year’s selection is an array of feature films, in addition to “some hard-hitting documentaries and a generous selection of shorts representing over 30 countries from all the regions of Africa.”

    According to him, other films that have made it into the festival’s official selection include Gone Too Far, an adaption from Bola Agbaje’s Olivier award-winning play set in London. Directed by Destiny Ekaragha, the outrageously enjoyable comedy focuses on two estranged Nigerian brothers as they meet for the first time.

    He further stated: “Difret is another affecting feature debut from Ethiopia, detailing the traumatic experience of an Ethiopian girl accused of killing a man who had sexually abused her. Nigeria is strongly represented again this year with Tunde Kelani’s Dazzling Mirage, Lancelot Oduwa Imasuen’s Invasion 1897 and the much-anticipated Kunle Afolayan’s October 1.

    “There is equally a feast of compelling stories in the short films category, among which is the African Metropolis’ six short films that examine the complexity of urban life from Abidjan, Cairo, Dakar, Johannesburg, Lagos and Nairobi.”

    Emphasizing Nigeria’s strong representation at the festival, Ude revealed that Invasion 1897, an epic on the historical Benin Empire, would enjoy a special screening at the festival

    The film features top Nigerian stars such as Segun Arinze, Paul Obazele, Charles Inojie, the late Justus Esiri and Mike Omoregbe who played the lead role as Omo n’ Oba Ovanrawmen Nogbaisi.

    In addition to the wide range of films, the festival also offers industry platforms for skill acquisition, financing, pitching, symposia on digital distribution and piracy.

    AFRIFF 2014 is scheduled to take place at the popular Tinapa Business and Leisure Resort, Calabar, Cross River State, from November 9 to 16.

  • Madiba in books, films and songs

    Madiba in books, films and songs

    He lies almost helpless in a South African hospital on his 95th birthday. But the life of Nelson Mandela remains an inspiration for film makers, musicians and authors. Long walk to freedom and Winnie are two films set to join the long list of creative works inspired by the ailing leader, writes Olukorede Yishau

    Now, now, now, Margaret Thatcher, ye, ye, ye, free Mandela,” was a song from the fading reggae star Majek Fashek. He released the single, “Free Mandela”, in 1992. His was one of the several albums waxed about Nelson Mandela in his years in jail.

    Aside Majek, Nigerian music stars such as King Wasiu Ayinde Marshal also sang about the Madiba and his travails.

    Non-African artists also were part of the fray. One of the most popular was from The Special who recorded the song “Free Nelson Mandela” in 1983. Stevie Wonder dedicated his 1985 Oscar for the song “I Just Called to Say I Love You” to Mandela, resulting in his music being banned by the South African Broadcasting Corporation (SABC). In 1985, Youssou N’Dour’s album Nelson Mandela was the Senegalese artist’s first United States release.

    In 1988, the Nelson Mandela 70th Birthday Tribute concert at London’s Wembley Stadium was a focal point of the anti-apartheid movement, with many musicians voicing their support for Mandela. Simple Minds wrote and performed the song “Mandela Day” for the concert. The song was on their next album, which was released six months later.

    Also, Santana recorded the instrumental “Mandela”, Tracy Chapman performed “Freedom Now” on her album Crossroads, Salif Keita from Mali, in 1995, recorded the song “Mandela” on his album Folon and Whitney Houston performed and dedicated the gospel song “He I Believe”.

    His countrymen were not left out. Hugh Masekela, in exile in the UK, sang “Bring Him Back Home Nelson Mandela” in 1987. Brenda Fassie’s 1989 song “Black President”, was hugely popular even though it was banned in South Africa. Also, Johnny Clegg’s album Third World Child in 1987 contained the song “We Have Not Seen Him”.

    In 1990, Hong Kong rock band Beyond released a popular Cantonese song, “Days of Glory”. It featured featured lyrics referring to Mandela’s heroic struggle for racial equality. The group Ladysmith Black Mambazo accompanied Mandela to the Nobel Peace Prize ceremony in Oslo, Norway in 1993, and performed for his inauguration in 1994.

    Raffi’s song “Turn This World Around” is based on a speech given by Mandela where he explained the world needs to be “turned around, for the children”. A summary of his life was part of the 2006 music video “If Everyone Cared” by Nickelback. Singer-songwriter Ampie du Preez and cricketer AB de Villiers wrote a song called “Madibaland” in honour of Mandela. It featured as the 4th and 14th tracks on their album, “Maak Jou Drome Waar”.

    Books, such as autobiography ‘Long Walk to Freedom’, published in 1994, ‘Mandela: The Authorised Biography’ and ‘Goodbye Bafana’, also told the story of Madiba’s life.

    His story was also told in films and television series. They include: the 1997 film Mandela and de Klerk, Goodbye Bafana and Invictus.

    Any moment from now Long walk to freedom and Winnie will also join the list of films inspired by his life.

  • Censors Board raids markets for illegal films

    Censors Board raids markets for illegal films

    THOUSANDS of allegedly unclassified movies have been forcefully ejected from the shelves of erring marketers. The National Film and Video Censors Board (NFVCB), who carried out the raid in various parts of Lagos were on hand with members of the Nigeria Police Force. The raids which were meant to enforce the Board’s classification decisions took the group to areas such as Obalende, Lekki, Victoria Island, Marina, Oke Aarin, Broad Street, Ikoyi, TBS, Oke-Sunna, Adeniji and Ebute Ero.

    Movies seized and confiscated were mainly multiple-in-one local and foreign titles which were neither censored nor classified by the Board before being sold by the filmmakers. Most of them were found to be pornographic and indecent exposure films. Some of the titles include: Calabar Girl, Calabar Connection, Club Girls Parts 1 & 2, Woman to Woman Parts 1&2, Thanks for Coming Parts 1&2, Efia, The School Girl 1&2, College Girl 1&2, Girls on Fire 1&2.

    Investigations carried out by the Board’s surveillance team trace the major source of the unclassified and uncensored pornographic films to the popular Alaba International Market. Some of the sellers arrested confessed that the producers of some of the movies have their offices within Alaba market.

    NFVCB’s Head of Operations for South West Zone, Mrs. Bola Athar, who led the team, noted that there is no hiding place for those engaged in selling of unclassified and pornographic movies, as the Board is out to get rid of them. According to her, the Acting Director General, Ms. Patricia Bala has zero-tolerance for illegal movies, and she has pledged to rid the market of them all. Bala, it would be recalled recently visited the censorship agency and other authorities in Ghana on the need to rid both countries of unauthorized movies.

  • Appiah,Ukeje,Omotoso shine at Africa Magic awards

    Appiah,Ukeje,Omotoso shine at Africa Magic awards

    The first edition of the much publicised Africa Magic Viewers’ Choice Awards (AMVCA) held on Saturday night with popular Ghanaian actress Jackie Appiah  and Nigeria’s emerging talent, OC Ukeje winning the Best Actress and Best Actor categories respectively. But the ovation was overwhelming for Nigerian filmmaker, Akin Omotoso, who did not only clinch the Best Director trophy, but also won in three other categories through his film, Man on Ground.

     Eko Hotel and Suites, venue of the event, pooled a large number of artistes from all sectors of the entertainment industry, as there was hardly any known entertainer who did not attend the show. Nigeria corpotate giants  , led by headline sponsors of the show, Nigerian Breweries Plc, through its Amstel Malta brand were also in attendance.

     Perhaps, portraying government’s solidarity for the motion picture industry was the presence of three serving Ministers: Edem Duke, Minister of Culture and Tourism; Olusegun Aganga, Minister of Trade & Investment, and Diezani Allison-Madueke, Minister of Petroleum Resources, who represented President Goodluck Jonathan at the event.

     The award ceremony was broadcast live from Lagos to DStv and GOtv audiences in more than 50 countries across the continent of Africa.

     The AMVCAs, held in association with MultiChoice and Amstel Malta, recognised Africa’s best film and television talent in a glittering four hour ceremony, hosted by Big Brother’s IK Osakioduwa and StarGist’s Vimbai Muntinhiri.

     The pre-event red carpet captured all the glamour of the gala event with a team of on-air personalities, including Big Brother alumni Uti Nwachukwu and Nic Wang’ondu alongside Eku Edewor, Dolopo Oni, Sarah Hassan and Helen Paul.

     Big individual winners on the night included Nigeria’s Mercy Johnson (Best Actress – Comedy) for Dumebi – The Dirty Girl, Ghanaian Jackie Appiah (Best Actress – Drama) for Perfect Picture, Nigeria’s Hafiz Oyetoro (Best Actor – Comedy) for House a Part and his compatriot OC Ukeje (Best Actor – Drama) for Two Brides and a Baby.

     Category wins for Best Supporting Cast in a Drama went to Uganda’s Matthew Nabwiso for A Good Catholic Girl and Kenya’s Maureen Koech for Lies That Bind. The prestigious award for Best Director went to Akin Omotoso for Man on Ground. The Best Movie Overall and Best Television categories were the climax of the event, with Otelo Burning and The XYZ Show scooping the honours respectively.

     Rounding off an unforgettable night, veteran Nigerian actor, Olu Jacobs was named the recipient of the Industry Merit Award while AMBO girl, Ivie Okujaye, was declared the TrailBlazer of the Year.

    Organisers say that the judging panel was drawn from experienced personalities around the continent. The team was led by Nigeria’s Femi Odugbem. The jury were said to be responsible for selecting the winners in non-viewer voting categories. The panel included Antonio Katakwe, Charles Asiba, Desiree Markgraaff, Joyce Fissoo, Kole Omotoso, Linus Abrahams, Simon Ratcliffe, Steph Ogundele and Zik Zulu Okafor.

    One of the attractions on the night was a performance by Nigerian Afrobeat superstar, Femi Kuti. Other musical performances were rendered by Sauti Sol, Tiwa Savage, Banky W and Chidinma, along with Ghana’s Efya.