Top Trends and Contenders to Look Out For at AMVCA 2025

PROLOGUE: The 11th edition of the Africa Magic Viewers’ Choice Awards (AMVCAs) will be held on May 10, and the buzz around it has already begun.

Over the past decade, the AMVCAs have grown into a major fixture on the entertainment calendar not just for Nollywood insiders, but also for the growing fan communities that treat the ceremony like a sporting event. Alongside the awards themselves, the event is also known for its red-carpet drama, designer reveals, and viral social media moments that often dominate conversations for days.

 

This year, the competition is especially tight. Big streaming titles like “Seven Doors” and “Lisabi: The Uprising”  are leading the nomination charts, and there’s already speculation about how much of an edge they hold over other contenders. At the same time, newer names are showing up across categories, a sign that the awards are slowly widening the net to include fresher voices.

 

This year’s AMVCAs continue with their signature two-part format, comprising 18 non-voting categories judged by industry professionals and 10 public-voting categories, where fans get the ultimate say.

 

A standout addition this year is the Best Music Score category, designed to celebrate the composers and sound designers who bring stories to life through their craft.

 

Here’s a breakdown of the major things to watch out for ahead of the ceremony.

 

 

 

The Heavyweights Going Head-to-Head

By Fareedat Taofeeq

The competition for the 2025 AMVCAs is already heating up, with a few clear frontrunners taking center stage. Two films, in particular, “Lisabi: The Uprising” and “Seven Doors“, have earned multiple nominations across key categories, solidifying their status as major contenders for this year’s most coveted awards.

 

“Lisabi: The Uprising” leads the charge with nominations spanning several categories, including Best Movie, Best Director, Best Lead Actor (Adedimeji Lateef), and Best Indigenous Language Film (West Africa). With a staggering 11 nominations, it’s no surprise that this historical drama is poised to make a significant impact on the night. The film’s blend of strong performances, powerful storytelling, and technical excellence positions it as a standout. For Adedimeji Lateef, the Best Lead Actor category is particularly notable. His performance in “Lisabi” places him in direct competition with Femi Adebayo, another industry heavyweight, who is nominated for this category for his role in “Seven Doors.”

 

Speaking of “Seven Doors,” this film is shaping up to be another big contender. It also received 11 nominations. Its place in the Best Movie and Best Director categories further highlights the immense impact it has made in the industry.

 

The film features standout performances from Chioma Chukwuka and Aliu Gafar, who are both nominated for Best Lead Actress and Best Supporting Actor, respectively. As an Indigenous Language Film (West Africa), “Seven Doors” is also vying for Best Cinematography, Best Art Direction, and Best Makeup, alongside technical giants like “Lisabi: The Uprising.”

 

This creates a dynamic race, especially with both films sharing similar categories. The performances in “Seven Doors“, led by Femi Adebayo, make it a strong contender for Best Lead Actor, a category that also includes Adedimeji Lateef, thereby giving us a repeat of last year’s fierce competition.

 

The tension surrounding Best Lead Actor is heightened when we look back at last year’s outcome. In 2024, Lateef Adedimeji, nominated for his role in “Jagun Jagun” (which was produced and directed by Femi Adebayo and Tijani Adebayo), lost to Wale Ojo, who won for Breath of Life. Notably, it was only Lateef who received a Best Male Actor nomination last year, not Adebayo.

 

This year, Lateef faces Femi Adebayo once again, but this time as a co-contender in the Best Lead Actor category. Will Lateef’s stellar performance in “Lisabi” finally earn him the recognition he missed last year, or will Femi Adebayo’s powerful presence in “Seven Doors” edge him out? It’s a question that has everyone on edge.

 

Speaking of “Jagun Jagun“, this film also had a noteworthy run at the 2024 AMVCAs, taking home the Best Indigenous Language Film (West Africa) award. In addition, Lola Awe’s costume design for “Jagun Jagun” won Best Costume, cementing its place in the industry’s spotlight.

 

However, despite these victories, “Jagun Jagun” lost out on Best Director, with Femi Adebayo and Tijani Adebayo narrowly missing out on the award. This year, Femi Adebayo is back in the running, and “Seven Doors” now stands poised to claim the Best Director title that eluded him in 2024.

 

Interestingly, “Seven Doors” is nominated in almost the same categories as “Jagun Jagun” was last year, with nominations in Best Movie, Best Director, and Best Cinematography, among others. While “Jagun Jagun” won Best Indigenous Language Film, “Seven Doors” has the same chance to secure that same honor this year, making it a direct competitor in multiple categories.

 

The competition remains wide open, with “Seven Doors” and “Lisabi: The Uprising” battling it out in several major categories, but they aren’t the only ones in the running. “Skeleton Coast”, “House of Ga’a,” and “Freedom Way” also have multiple nominations in key categories, keeping things competitive.

 

“Skeleton Coast” stands out with its recognition in Best Director and Best Cinematography, while “House of Ga’a” has been nominated for Best Costume and Best Makeup, offering a range of visually striking elements. “Freedom Way” makes a strong case for its place with nominations in Best Score/Music and Best Writing, further emphasizing the diversity of this year’s contenders.

 

“Skeleton Coast” has been a standout in the race for Best Director, with Robert O. Peters getting the nod for his work on the film, while “House of Ga’a,” directed by Bolanle Austen-Peters, is turning heads in the Best Costume and Best Makeup categories. The nominations for Best Cinematography where “Skeleton Coast” is also included, further cement the film’s place as a serious contender in the technical categories.

 

Meanwhile, “Freedom Way” brings a fresh voice to the 2025 AMVCAs, securing multiple nods, particularly in the Best Score/Music and Best Writing categories. The film’s strong musical elements and the quality of its script have earned it a place among the top films of the year, though it faces stiff competition from the likes of “Seven Doors” and “Lisabi: The Uprising”.

 

Ultimately, while “Lisabi: The Uprising” and “Seven Doors” lead the charge, this year’s AMVCA will undoubtedly highlight the diversity of storytelling within the African film industry, with each nominee bringing something fresh to the table.

 

The battle between “Lisabi: The Uprising” and “Seven Doors” for the top awards is sure to keep viewers on the edge of their seats, but the final tally may surprise us as other films like “Skeleton Coast” and “House of Ga’a” also fight for recognition. The competition is as high as ever, and it’s anyone’s game.

 

 

 

Streamers in Full Control

By Fareedat Taofeeq

A glance at this year’s AMVCA nomination list confirms what has been brewing for years: streaming platforms are no longer fringe players in Nollywood. They’re firmly in control!

 

From Netflix to Prime Video, the titles topping this year’s charts carry the signature of big streaming deals and global reach.

 

Femi Adebayo’s “Seven Doors” and Lateef Adedimeji’s “Lisabi: The Uprising“, both of which premiered on Netflix, are among the most nominated films this year. “Lisabi”, in fact, has already seen a follow-up with “Lisabi: A Legend is Born”, also on Netflix, confirming the streamer’s long-term investment in local franchise storytelling. Adebayo’s “Seven Doors“, like his 2024 AMVCA hit “Jagun Jagun”, reflects how high-budget Yoruba epics, once reliant on DVD or cinema, have found a wider, more global home on streaming.

 

They’re not alone. Nominations also shine a light on “House of Ga’a”, another Netflix-backed historical drama; Kunle Afolayan’s “Anikulapo: Rise of the Spectre“, the sequel to his 2022 Netflix release; and titles like “Inside Life” and “Suspicions”, all backed by major streaming platforms. With that, this year’s major contenders echo the 2024 trend, where “Jagun Jagun” (Netflix) and “Breath of Life” (Prime Video) won big over cinema releases like “A Tribe Called Judah” which, despite being a high-grossing film, failed to take home any awards.

 

This builds on what happened in 2023, when Kunle Afolayan’s “Anikulapo” (Netflix) dominated the AMVCA with wins including Best Writer, and Jade Osiberu’s “Brotherhood” (Prime Video) clinched Best Cinematography over cinema titles like “Ijakumo”. That same year, Funke Akindele’s “Battle on Buka Street”, then Nigeria’s highest-grossing film, lost out despite its commercial success. Even Akindele herself lost the Best Actress award to Bimbo Ademoye, who won for her performance in “Selina”, a Uduak Isong-produced film released on YouTube.

 

The current highest-grossing Nigerian film of all time “Everybody Loves Jenifa“, is noticeably absent from the list of this year’s nominations. Why that is the case remains unclear, but it underlines a growing divide between commercial hits and award-season favorites.

 

This shift doesn’t just speak to budgets or global access; it hints at changing audience habits and new power structures. Viewers, especially the younger demographic, are choosing convenience, rewatchability, and platform prestige. For producers, streaming offers higher production value, international exposure and, increasingly, a more direct path to awards and acclaim.

 

That said, cinema hasn’t gone quiet. Films like “Farmer’s Bride,” “Thinline,” “The Weekend,” and “Wives on Strike 3: The Uprising” still hold space on the nomination board, proving there’s still room for theatrical storytelling,  especially those that tap into comedy, romance, thrillers and crowd-friendly narratives.

 

But the scale is tipping. As long as streamers continue to bankroll ambitious storytelling and offer Nigerian filmmakers the freedom to think bigger, the streaming platforms will likely continue to dominate on our screens and at the AMVCAs.

 

 

Fan Power and Voting Battles

By Henry Damian- Justice

It wouldn’t be called the Africa Magic Viewers’ Choice Awards without fans having a say. Of all the public voting categories, none sparks more online debate than Best Digital Content Creator, and for good reason. It’s the one category that directly taps into the social media zeitgeist, often pitting viral titans against each other in a battle of fan loyalty and numbers.

 

This year’s nominees include some of the most recognizable and internet-savvy names: Taaooma for “Tips,” Iyo Prosper Adokiye for “We Listen We Don’t Judge (Bible Edition),” Elozonam Ogbolu and Chy Nwakanma for “Who Is Sarah?,” Ariyiikedimples and Brainjotter for “Risky,” and Jide Pounds Ibitoye for “Abike Ati Asola.”

 

Brainjotter (Chukwuebuka Emmanuel) enters the race with sheer social media force over 17 million followers across TikTok, Instagram, YouTube and X. Ariyiikedimples, his collaborator, doesn’t quite bring that scale of audience, but their skit chemistry gives the duo traction. Meanwhile, Elozonam, armed with the dual advantage of being a former BBNaija star and a four-time AMVCA nominee, also poses a real threat. His partnership with Chy Nwakanma has earned critical love and consistent online buzz, not to mention his previous AMVCA win for Best Dressed.

 

Yet, it’s Taaooma who feels like the real fan favorite this year. Despite having fewer total followers than Brainjotter, her supporters appear far more engaged. Her nomination tweet racked up nearly 400,000 views, and her Instagram post attracted significantly more interaction than any of her category peers. A three-time nominee, Taaooma’s consistency and strong community backing could make all the difference. If Layi Wasabi or Sabinus were in the mix, this would’ve been a more unpredictable race, but as it stands, this may come down to a popularity showdown between Brainjotter and Taaooma.

 

Another category where fan momentum is tipping the scales is Best Indigenous Language (West Africa). It might look competitive on paper because of titles like “Lisabi: The Uprising,” “Seven Doors,” “Anikulapo: Rise of the Spectre,” “Kaka” and “Mai Martaba” but, online, “Lisabi” is miles ahead in visibility. Conversations about the film, fan-driven vote campaigns, and reposts have flooded TikTok and Instagram. Here, quality may matter less than quantity, and “Lisabi” has numbers on its side.

 

In the Best Short Film category, it’s worth keeping an eye on “The Incredible Sensational Fiancée of Seyi Ajayi.” Directed by Abbesi Akhamie, the period piece made its premiere at AFRIFF 2024 and generated early buzz on Kickstarter, where just a teaser sparked intrigue. Against titles like “Sukari,” “Brukaci,” “What Are You Truly Afraid Of,” and “In Bloom: Afef,” this one might surprise everyone with how far online chatter can carry it.

 

 

Newcomers and Rising Stars

By Esther Kalu

While the Africa Magic Viewers’ Choice Awards (AMVCA) are often headlined by familiar names like Funke Akindele, Femi Adebayo, and Kunle Afolayan, this year’s nominations signal a strong showing from newcomers and rising talents looking to make their mark.

 

It’s one thing to be a breakout star, another to be a first-time nominee, but some talents are achieving both this year.

 

Among them is Prince Aboki, who made history as a first-time nominee with two films to his credit – “Kaka” and “Mai Martaba” – was nominated in the Best Indigenous Language Film (West Africa) category. “Mai Martaba” also happens to be Nigeria’s official entry for the 2025 Oscars. Aboki’s dual nod is not only a first for the AMVCAs but also a significant moment for Hausa-language cinema, which has often struggled for mainstream visibility.

 

South African filmmaker Norman Maake also joins the fold of debut nominees. His film “Inkabi” secured six nominations, including Best Director and Best Movie, placing him in direct contention with regional heavyweights like “Seven Doors,” “The Man Died,” and “The Weekend.”

 

In the acting categories, Gbubemi Ejeye lands her first Best Lead Actress nomination for her role in “Farmer’s Bride”, a performance that has propelled her from rising star to serious awards contender. After breaking out in 2022’s “Far From Home,” Ejeye has steadily built momentum, culminating in a 2024 box office run that placed her among the year’s highest-grossing actresses. Her turn in “Farmer’s Bride” also earned her the ‘Next Big Force’ tag among Nollywood fans.

 

Ejeye will compete with fellow first-timers Uzoamaka Onuoha (“Agemo”), Uzoamaka Aniunoh (“Phoenix Fury”), and Uche Montana (“Thinline”) a rare lineup where newcomers hold their own against seasoned performers like Chioma Chukwuka, Hilda Dokubo, and Bimbo Ademoye.

 

Aliu Gafar is another standout debutant. Nominated for Best Supporting Actor for his role as Esusu in “Seven Doors,” Gafar became one of the most talked-about actors of 2024. His haunting, layered performance was praised for bringing emotional complexity to a villainous role, with Nollywood Magazine describing him as “finally getting his flowers.”

 

He’s up against fellow first-timer Mike Afolarin (“House of Ga’a”), alongside established actors like Gabriel Afolayan, Uzor Arukwe, Femi Jacobs, and Richard Mofe-Damijo. The category is stacked, but Gafar and Afolarin’s nominations show how far the new wave has come.

 

Meg Otanwa is making her AMVCA debut this year with a Best Supporting Actress nod for her role in Clarence Peters’ “Inside Life” series. It’s a recognition that’s long overdue.

 

While veterans continue to lead the pack, this year’s nominations give room for fresh names to shine. For many of these newcomers, the AMVCA nod alone is already a win and a sign that audiences and industry players alike are paying attention.

 

 

The Snub Talk

By Alo Folakemi

It wouldn’t be award show season without noticeable snubs: films, big names, and projects that didn’t make the nomination list despite receiving significant praise from critics. The AMVCAs left out a handful of titles that deserved to be in the running, going head-to-head with this year’s top contenders. And this year, the omissions feel especially glaring.

 

“With Difficulty Comes Ease”
For Korede Azeez, there is no doubt that this film deserved to be a contender for various categories, including Best Movie, Best Writing in a Movie, and a Best Director. Released in 2024, the heart-wrenching tale of faith and love was one of the most critically acclaimed films of that year, but this seems not to have been enough for the AMVCAs.

 

Uzoamaka Aniunoh also deserved a Best Lead Actress nomination for her role as the torn but pious Zainab. Although she was nominated in this category for another film, “Phoenix Fury,” it is without argument that her performance in “With Difficulty Comes Ease” was more deserving of the award recognition.

 

“Kill Boro”
The Courage Obayuwana-directed film had all the makings of a strong Best Movie contender from its compelling storytelling to its haunting portrayal of generational trauma and the cyclical nature of violence in marginalized communities.

 

However, the First Features Project film, which debuted on Prime Video in early 2024, was noticeably left out of the running for Best Movie and Best Indigenous Language Film (West Africa). In fact, it was left out of the running entirely, receiving no love from the award show.

 

Additionally, all the performers in the film, from Philip Asaya to Ini Dima-Okojie, deserved recognition for their roles in this telling tale of the chilling effects of domestic violence and the damning consequences of poverty.

 

Perhaps its slots were given to the more popular Netflix films that made more noise than impact.

 

“Everybody Loves Jenifa”
Funke Akindele’s “Everybody Loves Jenifa” was the real Christmas movie of 2024. The family-friendly film, which is now Nigeria’s highest-grossing movie to date with a whopping ₦1.8 billion, received no nominations at the AMVCAs, an act that hasn’t gone unnoticed.

 

Akindele has been a staple piece at the AMVCAs for over five years, consistently one of the most nominated filmmakers at the award show. So, it’s indeed very strange that “ELJ” and Akindele were left out of the contest without even a chance to compete.

 

Inside sources reveal that the possible reason the film received no nominations was because Akindele didn’t submit it for consideration. If true, that’s quite a disservice. Even though numbers don’t necessarily determine award show considerations, the film made a huge impact at the box office and was a clear fan-favorite.

 

It would’ve been great to see Akindele and Falz in the running for Best Lead Actress and Best Lead Actor respectively – categories they might have easily won.

 

Beverly Osu in “A Ghetto Love Story”
Beverly Osu made her acting debut 11 years ago in “Curse of the Seven” and has been an unstoppable force ever since, appearing in other successful projects like “Chief Daddy,” “Òlòtūré,” and “Progressive Tailor’s Club.”

 

Her acting skills are criminally underrated, and the AMVCAs had the perfect opportunity to make her a first-time nominee for her brilliant performance in “A Ghetto Love Story” but fumbled where it mattered most. She deserved a nomination for Best Lead Actress.

 

Her performance as Stella, a young girl blossoming from child-like innocence into womanhood while grappling with love, identity, and freedom, was one of the best performances of the year, a standout that could easily outshine some of the names that made it into the Best Lead Actress category.

 

 

 

Red Carpet Heat: Who Will Own the Night?

By Oluwatomiwa Ogunniyi

Beyond the awards themselves, the AMVCA red carpet has become an institution of its own. As much a spectacle as the ceremony, it’s where celebrities, stylists, and fashion houses go all out to craft memorable moments, and 2025 looks set to continue that tradition in grand style.

 

Veekee James remains the designer to beat, having created Osas Ighodaro’s two-time Best Dressed-winning looks, including her standout 2024 appearance. Her mastery of bold structure and intricate detail ensures she’ll be dressing several top names again this year.

 

Aso by Ajide, a relatively new name, is gaining ground with its culturally rich and energetic designs. After Nancy Isime’s viral look at Headies 2025, the label is now firmly on the fashion radar.

 

Tolu Bally, known for her bridal designs, has also made successful transitions to red carpet styling. Her elegant work at #JP2025 and with Uche Montana confirms she’ll be a key player this year.

 

Behind the scenes, stylists are doing just as much heavy lifting. Dahmola, also a nominee for Best Costume Design (“Christmas in Lagos”) brings a dramatic flair that extends beyond sets and into red carpet artistry. He’s styled high-profile names like Bonang, Toke Makinwa, and Sophia Momodu, and his own outfit is one to watch.

 

Medlin Boss, known for curating elegant, photogenic ensembles, is likely to return with her signature blend of glamour and ease. Meanwhile, Yolanda Okereke, another Costume Design nominee brings an editorial eye honed from years on film sets and celebrity shoots.

 

As for who might take home the Best Dressed titles?

 

Ebuka Obi-Uchendu is always in the conversation. A fashion icon in his own right, he’s pulled off look after look and is nominated this year in the Unscripted category.

 

Enioluwa Adeoluwa may not have a nomination, but his red carpet presence alone could make him a contender.

 

Uche Montana, making her AMVCA debut as a nominee, is widely expected to serve a jaw-dropping look. And Mercy Aigbe, ever consistent in style remains a fan favorite with her love for drama and detail.

 

As always, the AMVCA red carpet isn’t just a prelude to the main event, it’s a headliner in itself. And with this year’s nominees and stylists gearing up for the fashion battle, the question remains: who will own the night?

 

 

EPILOGUE: What the Awards Say About Nollywood’s Direction

By Fareedat Taofeeq

Looking at this year’s AMVCA nominations, one thing stands out: the industry is shifting, not only in the kind of stories being told, but in who is being recognized for telling them. The nominations reveal a growing appreciation for genre variety, streaming-first releases, and a more layered approach to social themes.

 

Big names like Kunle Afolayan, Femi Adebayo, and Lateef Adedimeji continue to dominate headlines, but it’s also clear that newer, younger voices are getting more visibility.

 

Directors like Daniel Oriahi (“The Weekend”) and Clarence Peters (“Inside Life”) are right there on the list, standing next to established heavyweights. Even in acting categories, the mix of old and new is refreshing: while stars like Richard Mofe-Damijo and Femi Branch return, we’re also seeing relatively fresh faces like Aliu Gafar (“Seven Doors”), Gbugbemi Ejeye (“Farmer’s Bride”) and Bucci Franklin (“The Weekend”) enter the scene with strong performances.

 

Then there’s the streaming wave. From “Lisabi: The Uprising” to “Seven Doors”, “Anikulapo: Rise of the Spectre”, “House of Ga’a”, and “Suspicion”, many of the big contenders are Netflix or Prime Video originals. This isn’t new trend because last year’s winners “Jagun Jagun” and “Breath of Life” were also released on streaming, but the scale is different now. Streaming films are no longer the underdogs. They’re leading the pack, and the AMVCAs are treating them like frontrunners.

 

Meanwhile, high-grossing cinema titles like “A Tribe Called Judah” and “Everybody Loves Jennifer” are mostly absent. It’s a reminder that virality and ticket sales don’t always equal awards season love.

 

Thematically, too, there’s a clear pattern: stories grounded in culture, tradition, and emotional stakes are taking center stage. Whether it’s “Seven Doors” exploring familial tension, traditions and secrets, or “Lisabi” diving into Yoruba resistance history, or “The Weekend” unpacking the complexities of relationships and the darker side of family dynamics, there’s an intentional lean toward narratives that feel both personal and politically resonant.

 

“The Weekend“, marketed as the Nigerian take on psychological thrillers like “Get Out,” brings a fresh angle examining how social pressures and hidden family secrets can spiral into a nightmare. It adds to the growing genre diversity in Nollywood, showing that stories of intense emotional and psychological depth are gaining traction alongside traditional drama.

 

So while the glitz of the red carpet will always be a fascinating scene to look forward to, there’s more to the African Magic viewers Awards choice than just fashion.