The vibrant pulse of African storytelling took center stage on Saturday night as the 12th edition of the Africa Magic Viewers’ Choice Awards (AMVCA) unfolded in a dazzling display of glamour, culture, and artistic excellence. Held at the prestigious Eko Hotel and Suites in Victoria Island, Lagos, the ceremony proved to be a historic milestone for the continent’s entertainment industry, bringing together the most influential figures from Nollywood, Ghollywood, and beyond. In an evening defined by emotional speeches and unexpected triumphs, the film My Father’s Shadow emerged as the definitive champion of the night, securing the coveted Best Movie trophy and solidifying its place in African cinematic history.
As the sun set over the Lagos skyline, the red carpet transformed into a high-fashion runway, showcasing the creative ingenuity of African designers. Celebrities arrived in breathtaking ensembles that blended traditional motifs with avant-garde aesthetics, signaling that the AMVCAs remain the premier calendar event for the industry. However, once the lights dimmed and the main event commenced, the focus shifted from the sartorial to the cinematic, as the MultiChoice-organized gala honored the technical brilliance and performance depth that have propelled African content onto the global stage over the past year.
The high-stakes categories of Best Lead Actor and Best Lead Actress provided some of the most memorable moments of the evening. Uzor Arukwe, widely regarded as one of the most versatile performers of his generation, clinched the award for Best Lead Actor for his visceral and haunting portrayal in Colours of Fire. Arukwe’s win was met with a standing ovation, reflecting the industry’s respect for his commitment to a role that required immense physical and emotional transformation. His victory came against a formidable list of nominees, including the legendary Wale Ojo and the prolific Femi Branch. In the Best Lead Actress category, Linda Ejiofor delivered a career-defining moment by winning for her role in The Serpent’s Gift. Ejiofor, whose performance in the psychological thriller has been praised for its nuance and intensity, expressed profound gratitude to the cast and crew. Her triumph was doubled later in the night when she also secured the Best Supporting Actress award for her work in The Herd, making her one of the rare performers to win two major acting plaques in a single night. Her dual victories underscored her range and the high demand for her talent across different genres.
My Father’s Shadow proved to be the night’s most significant juggernaut. Beyond winning Best Movie, the production saw Akinola Davies Jr. take home the Best Director award. Davies Jr.’s vision for the film has been lauded for its atmospheric depth and its poignant exploration of familial legacies and unspoken trauma. The film’s success was further bolstered by technical wins, including Best Sound Design (Pius Fatoke and CJ Mirra) and Best Writing in a Movie (Wale Davies). The collective success of My Father’s Shadow signals a shift in the industry toward more introspective, high-concept dramas that prioritize narrative complexity alongside visual spectacle. The technical categories highlighted the incredible growth of African film crews. Hakeem Onilogbo, popularly known as Hakeem Effect, continued his dominance in the field of prosthetic and makeup artistry, winning Best Makeup for the historical epic Warlord. The film Colours of Fire also picked up significant wins in the craft categories, including Best Costume Design (Valerie Okeke) and Best Art Direction (Ajamolaya Bunmi), proving that the aesthetic quality of African cinema is now rivaling international standards.
A major highlight of the 12th AMVCA was the celebration of indigenous storytelling. Lateef Adedimeji, a powerhouse in the Yoruba film sector, earned a well-deserved victory in the Best Indigenous Movie (West Africa) category for the epic Lisabi (A Legend Is Born). Adedimeji, who both produced and starred in the project, has been a vocal advocate for elevating indigenous narratives through high-budget production values. His win was a testament to the commercial and critical viability of films that remain rooted in local history and language. The pan-African nature of the awards was further emphasized in the Best Writing (TV Series) category, where MTV Shuga Mashariki took the honors. The production team, led by Annette Shadeya, was recognized for their ability to weave essential social messaging into an engaging serial format that resonates with youth audiences across East and West Africa. Similarly, the award for Best Indigenous M-Net Original went to Inimba, a production by Siphosethu Tshapu, Thandi Ramathesele, and Yolanda Ndhlovu, highlighting the rich tapestry of stories coming out of the continent's diverse regions.
Recognizing the evolving landscape of media consumption, the AMVCAs continued to honor the New Media segment. In the Best Digital Content Creator category, the duo of Emmanuel Kanaga and Sophia Chisom emerged victorious for their work on Leave To Live. This category remains one of the most competitive, featuring internet sensations like Taaooma and Steve Chuks, but Kanaga and Chisom’s ability to merge social commentary with digital-first storytelling ultimately swayed the voters. In the Short Film category, Hussainin, produced by Orire Nwani and Josh Olaoluwa, took home the prize. The film was praised for its tight narrative structure and its ability to deliver a profound emotional impact within a limited runtime. In the Documentary category, Beyond Olympic Glory by Shedrack Salami was recognized for its investigative depth and compelling portrayal of the struggles and triumphs of African athletes on the world stage.
The emotional heart of the ceremony was found in the honorary awards. The Industry Merit Award, a lifetime achievement recognition, was bestowed upon two of the most iconic figures in African cinema: Sola Sobowale and Kanayo O. Kanayo. Sobowale, affectionately known as The King of Boys, received a thunderous ovation that lasted several minutes. Her career, spanning decades, has seen her evolve from a television favorite to a cinematic icon. Kanayo O. Kanayo, a pioneer of the early Nollywood era, was honored for his consistency and his foundational role in establishing the Nigerian film industry as a global phenomenon. The Trailblazer Award, which recognizes a rising star whose recent work suggests a significant future impact on the industry, was awarded to Uche Montana. Montana has had a prolific year, appearing in several high-profile projects and demonstrating a level of professionalism and screen presence that has made her a favorite among directors and audiences alike.
The M-Net Original categories showcased the strength of the MultiChoice content ecosystem. The Low Priest, directed by Femi D. Ogunsanwo, won Best Scripted M-Net Original, while the 10th season of Nigerian Idol took the Best Unscripted M-Net Original award. The reality television sector has seen a massive surge in popularity, and the nomination of The Real Housewives of Lagos (Season 3) underscored the public’s fascination with high-gloss unscripted drama. The 12th AMVCA also recognized the crucial role of editors and cinematographers. Daniel Anyiam won Best Editing for the gripping series To Kill a Monkey, a show that also earned Kabelo Thathe the Best Cinematography award and Bucci Franklin the Best Supporting Actor award. Franklin’s win was particularly celebrated, as his portrayal in the series has been a talking point among critics for its intensity and precision.
The 2026 winners represent a diverse cross-section of the African creative economy, spanning various countries, languages, and genres. The acting categories saw Uzor Arukwe win for Colours of Fire and Linda Ejiofor for The Serpent’s Gift. Bucci Franklin and Linda Ejiofor also claimed the supporting trophies for To Kill a Monkey and The Herd, respectively. On the directing front, Akinola Davies JR took home the plaque for My Father’s Shadow. Craft awards were distributed to Kabelo Thathe for cinematography and Daniel Anyiam for editing in To Kill a Monkey. Sound design honors went to Pius Fatoke and CJ Mirra for My Father’s Shadow, while art direction and costume design plaques were awarded to Ajamolaya Bunmi and Valerie Okeke for Colours of Fire. Hakeem Onilogbo won for makeup on Warlord, and Oscar Heman-Ackah won for the score of To Kill a Monkey. Writing accolades were presented to Wale Davies for My Father’s Shadow and Annette Shadeya for MTV Shuga Mashariki. Indigenous language film honors went to Lateef Adedimeji for Lisabi, while documentary and short film awards went to Shedrack Salami for Beyond Olympic Glory and Orire Nwani and Josh Olaoluwa for Hussainin. Emmanuel Kanaga and Sophia Chisom were recognized as digital content creators. Finally, M-Net Original awards were given to Femi D. Ogunsanwo, Sulaiman Kassim, Anneke De Ridder, and the team behind Inimba.
As the 12th edition of the AMVCAs concluded, the sentiment in the room was one of collective pride. The awards have grown from a local recognition ceremony into a world-class institution that mirrors the maturity of the African film industry. The diversity of winners this year—from the historical epics of West Africa to the gritty crime dramas of the South—highlights a continent that is no longer just telling African stories for the sake of representation, but is producing high-quality cinema that stands on its own merit. For winners like Uzor Arukwe and Linda Ejiofor, the AMVCA plaque is more than just a trophy; it is a validation of years of hard work in an industry that is often challenging. For the producers of My Father’s Shadow, the night was a confirmation that audiences and critics alike are hungry for sophisticated, thoughtfully crafted narratives. As the stars departed Eko Hotel and Suites into the early hours of Sunday morning, the message was clear: African cinema has arrived at its golden age, and the world is finally paying attention. With the 12th AMVCA now in the history books, the industry turns its gaze toward the coming year, inspired by the excellence witnessed on stage. The bar has been set higher than ever, and if the talent on display this year is any indication, the future of African entertainment is not just bright—it is limitless.
