AMVCA As A Mirror to Nollywood

The night of May 10 saw Eko Hotels transform into a dazzling spectacle that blurred the lines between a fashion show and an award ceremony. Glittering gowns and sharp tuxedos competed for attention, almost overshadowing the cinematic achievements of the AMVCA evening. Beneath the glamour, the award platform continued its role as a mirror reflecting the state of the African film industry, its triumphs, tensions, and evolving definitions of excellence. For 12 years, it has stood as the preeminent award show in the African film industry since its inception in 2013. Organized by Multichoice, the annual event has become a night that brings the continent’s most prominent film and television professionals together. The AMVCA has evolved over the years, but not without some definitional challenges.

Lisabi: The Uprising and Seven Doors emerged as the night’s triumphant productions, dominating the award categories. The evening’s most heartwarming narrative unfolded with Femi Adebayo and Chioma Chukwuka-Akpotha winning Best Lead Actor and Best Lead Actress, respectively. Their on-screen chemistry in Seven Doors seeming to culminate in a real-world celebration of their exceptional performances. Another warm moment emerged when Nkem Owoh and Sani Muazu were called for the Industry Merit Award. The hall erupted in a standing ovation. The applause was particularly thunderous for Owoh, the legendary actor popularly known as Osuofia, despite his conspicuous absence. Similarly, many other awardees, including Chukwuka-Akpotha were not present to receive their recognition. 

The Trailblazer Award has long stood as one of the AMVCA’s more enigmatic honors. There are no announced nominees and no official criteria. Yet over the years, the industry has drawn its own conclusions about what it signifies. Former Pulse Editor-in-Chief Samson Toromade put it plainly: “It’s recognition for rising filmmakers starting to make waves. They may not have done enough to win in a major category like Best Actor, but it’s enough of a recognition that signifies the industry noticed them. It’s a nod that says you have arrived.”

In other words, the Trailblazer Award has come to function as a “Best Newcomer” award. In 2015, CJ Obasi received it for his debut feature Ojuju. At the time, Obasi had only just started making films; Ojuju was his first major project, released barely two years after he entered the industry. Similarly, when Kemi Lala Akindoju took home the award in 2016, she was still in the early stages of her screen career. Though she had built a foundation in theatre, performing in 70 stage plays, she had yet to become the household name or acclaimed producer (The Black Book, Gangs of Lagos) we know today. Other winners followed the same pattern: Bisola Aiyeola (2018), Teniola Aladese (2022), and Chimezie Imo (2024), all relatively new talents whose work hinted at even greater things to come. 

This year, however, the AMVCA took a turn. The 2025 Trailblazer Award was presented to Kayode Kasum, a seasoned director with a sizable and critically recognized body of work. From Afamefuna and Obara’M to Sugar Rush and Far From Home, Kasum is no newcomer. He’s a well-established force in Nollywood. 

In the most literal sense of the word, a “trailblazer” is someone who forges new paths. And by that definition, Kasum fits: his films often explore fresh territory and underrepresented stories. But based on the AMVCA’s own precedent, the Trailblazer Award has historically been a launchpad, not an achievement nod. The sudden shift in meaning felt jarring, a sentiment echoed by the muted audience response when his name was announced. Why the change in tone and why now? Industry observers quickly pointed to other candidates who better fit the previous mold. Onyinye Odokoro, for instance, had a strong presence across multiple nominated films like Princess On A Hill and Phoenix Fury. Simisola Gbadamosi, the youngest Nigerian actor to be nominated for an International Emmy Award, also stood out as a worthy contender.

The AMVCA leaned into the literal dictionary meaning of the word, and in doing so, disrupted its own informal tradition which the industry had come to understand. The result is a cloud of ambiguity. What exactly does it mean to be a “trailblazer” in today’s Nollywood? I’m not sure, and it’s unclear if the AMVCA is either.

The night ended with Afolabi Olalekan’s Freedom Way securing the coveted Best Overall Film award. It also earned Blessing Uzzi recognition for Best Writing. The film’s success underscored the power of nuanced narrative and creative vision. In a moment of significance, Awam Amkpa’s The Man Died, an adaptation of Wole Soyinka’s work, claimed the Best Director award. As a first-time nominee, Amkpa’s victory highlighted the awards’ capacity to recognize bold artistic interpretations. His success with the adaptation of Soyinka’s work also spoke to the power of literary storytelling translated into the cinematic medium.

Another notable moment from the evening was the quiet exit of Mai Martaba, Nigeria’s official submission to the Oscars, which left the ceremony without a single win. Though nominated for Best Indigenous Language Film (West Africa), the award ultimately went to Lisabi: The Uprising. The irony was hard to miss, a film chosen to represent the country on the world’s biggest cinematic stage failed to secure victory on its home turf. However, this outcome may be better understood when considering the category’s voting structure: unlike the 18 jury-decided categories, Best Indigenous Language Film (West Africa) is determined by public voting, which often prioritizes popularity over prestige.

Overall, the AMVCA’s recognition of independent cinema signals a promising shift toward artistic authenticity. By spotlighting films like Freedom Way and The Legend of the Vagabond Queen of Lagos, both of which have screened at international festivals, they show a growing appreciation for storytelling that exists outside commercial formulas. This marks a welcome change for independent filmmakers, who mainstream platforms have long sidelined. Still, the award platform isn’t without its flaws. Issues like unclear nomination criteria and the decision to lump films and series into the same categories reveal structural inconsistencies that need addressing. But as the platform continues to embrace diverse narratives and unconventional formats, it sends a clear message: there is room for bold, risk-taking storytellers. This increased validation could embolden a new generation of filmmakers to challenge norms and expand the possibilities of Nigerian cinema.