Every year, the red carpet rolls out, lights dazzle, and stars shine bright at the Africa Magic Viewers’ Choice Awards. But beyond the glamour and celebration lies a deeper narrative; one of industry-building, cultural assertion, and a growing global footprint.
Since its inception, the AMVCA, powered by MultiChoice and Africa Magic, has steadily transformed from a regional awards show into a beacon of excellence for African cinema. As the 2025 edition wraps up, conversations abound. It is no longer just about who won or what they wore, but about what the platform means for the future of African storytelling.
Recognition for African storytellers
When the AMVCA debuted in 2013, few could have predicted just how influential it would become. Today, it stands as arguably the continent’s most prestigious film and television award ceremony, creating a much-needed platform to recognise African storytellers.
In an industry where validation has historically come from Western film festivals or Hollywood recognition, the AMVCA asserts that we don’t need external approval to celebrate our stories. We are enough, and our work deserves to be seen, honoured, and celebrated on our soil.
By spotlighting local content, rewarding homegrown talent, and drawing millions of viewers across Africa, the AMVCA is helping to reshape cultural perceptions and build a sustainable ecosystem for African filmmakers.
Toward a truly continental stage
Though the awards are hosted by Nigeria-based Africa Magic, they were never intended to serve only Nollywood. According to the organisers, the AMVCA has always sought to celebrate the best of African film and television.
Still, the perception that the ceremony is “for Nollywood” persists. One of the organisers clarified that this view is largely a reflection of submission patterns, not bias.
“Nollywood dominates because it submits the most entries. The door is wide open, but it’s up to filmmakers across the continent to walk through it,” the source explained.
For the AMVCA to fully reflect the richness of African cinema—from Senegalese documentaries to East African dramas—there must be broader participation. And that begins with awareness, confidence, and a sense of shared ownership.
Filmmakers from outside West Africa should see the AMVCA not as a Nigerian institution, but as a continental opportunity. The infrastructure, platform, and visibility are all in place. What’s needed now is for creators from all corners of Africa to recognise the AMVCA as theirs and participate fully.
Credibility earned, not assumed
An entertainment journalist, Oludare Omolaja, noted that a common misconception is that prestigious awards chase filmmakers, lobbying them to submit their works. In truth, it’s usually the reverse. From the Oscars to the BAFTAs, it is filmmakers who submit their work to platforms they deem credible.
He added, “The AMVCA has earned its place through consistency, integrity, and a commitment to quality. It has built a reputation not based on popularity, but on merit.
“For filmmakers across Africa, this should be seen as an invitation, not a gate-keeping exercise. The AMVCA offers a respected platform that is African in origin yet global in ambition. It’s a space where excellence is honoured not because it has Western endorsement, but because it reflects our own standards.”
Contextualising the controversies
No awards show is without contention, and this year’s AMVCA had its share. Awam Amkpa’s Best Director win for ‘The Man Died’ sparked significant debate. Critics pointed to a perceived conflict of interest, particularly because a member of the jury was also a producer on the film.
However, organisers were quick to clarify that the jury member had recused himself from all deliberations related to the project, a practice consistent with global standards. In most international awards, jurors with a conflict of interest are expected to step aside from evaluating specific categories rather than have associated works disqualified outright.
“To disqualify a project solely based on affiliation would be unjust to the creators,” the statement read. “What matters is transparency and adherence to process, not speculation,” one of the organisers told Saturday Beats.
Who is a trailblazer?
Another point of debate was the Trailblazer Award, which was presented to Kayode Kasum. Some critics expressed surprise and argued that he was not a newcomer and therefore not a suitable recipient. However, the organisers noted that “to define the Trailblazer Award solely by years of experience is to misunderstand its purpose. The award was never strictly about newness but about impact and momentum.
“Kayode Kasum has consistently pushed creative boundaries, from ‘Sugar Rush’ to ‘Obara’M’, while mentoring young talents and shaping the visual language of modern Nigerian cinema,” the organisers explained.
“Past recipients like Bisola Aiyeola and Lala Akindoju weren’t fresh faces either, but they were at inflection points in their careers, making visible impacts. Kasum, likewise, has blazed a quiet but undeniable trail. Recognising him is not a departure from tradition; it’s an evolution of it,” the statement added.
