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Nolly Silver Screen

LYDIA FORSON:
The only way to unite
Africa is through film
ISSUE 08
SEPTEMBER 2014
10
African
actors in

Hollywood
Interviews
- Kenneth Gyang
- Keith Shiri
- Berni Goldblat
- Kunle Odunewu
- Johnny Muteba
- Kemi Lala Akindoju
- Femi Kayode Amogunla
- Udoka Oyeka
+
Nolly Silver Screen
CONTENTS
FEATURES
8 10 African actors making it
big in Hollywood
10 The Legal Framework for
Defending Intellectual Proper-
ty Rights Nationally and In-
ternationally A Film
Producers Perspective
16 The challenges of making a
historical flm in Nollywood
20 The digital rise of African
and Caribbean entertainment
a changing industry
32 5 leading African movie
industries
INTERVIEWS
14 Cover: Lydia Forson
18 Filmmaker Interview:
Kenneth Gyang
22 Q & A with Kunle Odunewu
23 Up close and personal with
Kemi Lala Akindoju
26 Talent on the rise: Femi
Kayode Amogunla
27 A Day in the life of...Udoka
Oyeka
27 Berni Goldblat: On a mis-
sion to revive African Cinema
30 Keith Shiri on 2014 AFRIFF
31 Johnny Muteba on found-
ing KIFF
REGULARS
4 Editors Note
5 Readers Corner
6 Contributors Bios
9 Vox Pop
9 Nolly Toons
12 Celebrations
13 On Set
17 News
17 Story-Bored!
21 Photo News
23 Nolly Pop Quiz
24 Reviews
28 Red carpet
33 Festival News
34 Listings
35 Events
38 Award News
ISSUE 08 SEPTEMBER2014
3
26 28
17
13
Editors Note
4
Promoting and
celebrating African
cinema is a burden
that should be borne
by all irrespective of

geographical
boundaries.
They say charity begins at home and we fully agree. So,
after seven editions focusing mainly on Nigeria and its
flm industry popularly called Nollywood, we decided to
broaden our horizon to the encompass Mother Africa. We
wanted to shine the light on what Africans are doing here
and in the Diaspora. Putting together our Africa issue was
a very challenging but rewarding experience. We believe
that promoting and celebrating African cinema is a bur-
den that should be borne by all irrespective of geograph-
ical boundaries.
Our cover girl, the talented actress and reigning AMAA
ambassador, Lydia Forson shares our beliefs. For her, The
only way to unite Africa is through flm. We cant agree
more. Wilfred Okiche profles 10 Africans making it big
in Hollywood (p. 8) and Innocent Ekejiuba compiles fve
leading African movie industries (p. 32).
We also speak to Zimbabwe born international flm cura-
tor, Keith Shiri about this years Africa international flm
festival (AFRIFF) (p. 30). Johhny Muteba is planning the
Kalahari international flm festival to showcase the best of
African flm and culture (p. 31) and Berni Goldblat is reviv-
ing African flm culture one cinema at a time (p. 27).
Still need a reason to tuck into 40 pages of Nolly Silver
Screen? We have reviews, listings, articles, cartoons, red
carpet fashion and news from the festival circuit and
awards, competitions and much more.
Enjoy!
Isabella Akinseye
@iakinseye

Write to us about what you have


enjoyed in this edition and stand
a chance of winning fabulous priz-
es. This month, we will be giving out
2 copies of Maami on DVD. Also up
for grabs are cinema tickets to see a
Nollywood movie in Nigeria and a gift
hamper.
Email: info@nollysilverscreen.com
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W
r
ite
n

w
in
Readers Corner
5
Read Nolly Silver Screen on
www.nollysilverscren.com
issuu.com/nollysilverscreen
scribd.com/nollysilverscreen
Well done with your website and magazine as
well. I read copy with Amaka Igwe on it sometime
back. Its nice to know that someone is document-
ing the Nollywood industry. :)
Ade Balogun
The last edition was a bumper edition with some-
thing for everyone in Nollywood: actors, directors
and producers. This is the way to go. I look
forward to more editions.
Mafoya A.
Olumuyiwa Awojide
is a computer scientist,
digital marketer and
movie lover. Drop him in
front of a 100 feet screen
showing anything with
Tom Hanks in it and his
day is made. He runs the
award winning movie
blog, Sodas and Pop-
corn.
He reviews Shirley Frim-
pong Mansos Devil in
the Detail (p. 25).
Mike Asukwo studied
Fine Art at the presti-
gious Yaba College of
Technology. He is an
award winning cartoon-
ist and illustrator with
his work appearing in
numerous publications.
He currently works with
BusinessDay newspaper
as Senior Editorial Artist.
His cartoon strip Story-
Bored explores some of
the challenges of African
flmmakers (p. 17).
Alex Eyengho is a flm-
maker and journalist. He
is the President of both
the Association of Nol-
lywood Core Producers
(ANCOP) and the Asso-
ciation of Itsekiri Per-
forming Artistes (AIPA).
Vice President of the
International Federation
of Film Producers Asso-
ciations (FIAPF).
He shares his perspec-
tive on intellectual rights
(p. 10).
Ikechukwu Obiaya lec-
tures at the School of
Media and Communica-
tions of the Pan-Atlantic
University and is the di-
rector of the Nollywood
Studies Centre.
He writes on the month-
ly forum organised by
the Nollywood Studies
Centre in his piece The
challenges of making a
historical flm in Nolly-
wood (p. 16).
Mpona Lebajoa is a is
a recent graduate from
the University of Green-
wich with a degree in
Media and Communi-
cations. She is a feature
writer at FAB magazine
and an account manag-
er at S TWO Media.
Check out her piece The
digital rise of African
and Caribbean enter-
tainment a changing
industry (p. 20).
CONTRIBUTORS bios
Akinwande Ayodeji is a
self taught digital artist,
graphic designer and
illustrator. He graduated
with an MSc Pharm.
Chem from UNILAG but
creativity is what drives
him. He intends to make
good use of it. He works
for CKDigital as a graph-
ics designer.
His cartoon strip Nolly
Toons is titled Wood
Shopping (p. 9).
Wilfred Okiche believes
in God, medicine, music
and movies. A medical
doctor, occasional writer,
columnist and profler.
He runs a regular col-
umn in The Sun news-
paper and contributes to
Y!Africa.
He compiles a top 10
list of African actors
making it big in Holly-
wood (p. 8).
Oluwaponmile Orija is
studying Food Science
and Technology at the
Federal University of
Agriculture, Abeokuta.
She loves writing and
has published several
works in the newspa-
pers.
She asks people who
their favourite African
actor is in Hollywood for
the Vox Pop section (p.
9).
NOLLY SILVER SCREEN
EDITOR
Isabella Akinseye
DEPUTY EDITOR
Innocent Ekejiuba
GRAPHICS & LAYOUT
Isabella Akinseye
ADVERTISING
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Creatives
EDITORIAL BOARD
Temitayo Amogunla
Bola Atta
Bola Audu
Shaibu Husseini
Toni Kan
STAFF WRITERS
Ebunoluwa Mordi
Oluwayomi Olushola
CONTRIBUTORS
Mike Asukwo
Olumuyiwa Awojide
Akinwande Ayodeji
Alex Eyengho
Mpona Lebajoa
Ikechukwu Obiaya
Wilfred Okiche
Oluwaponmile Orija
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Nolly Silver Screen
is a monthly online
magazine of www.
nollysilverscreen.
com. Reproduction
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Send email to info@
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6

Want to contribute?
Nolly Silver Screen is always on the lookout for writers and
artists to contribute to the website, magazine and social
media pages.
We are currently open to receiving movie reviews, articles,
interviews, infographics, cartoon strips and caricatures fo-
cusing on Nollywood as well as Africas flm industry.

Send an email to info@nollysilverscreen.com
requesting contributors guidelines.
They are taking over: 10 African actors making it big in Hollywood
BY WILFRED OKICHE
8
Adepero Oduye
In 2012, Oduye
became the frst
Nigerian actor to grace
the cover of Vanity Fair
magazine when she
appeared in the Holly-
wood issue alongside
famous names like
Jennifer Lawrence, Jes-
sica Chastain and Paula
Patton. This came on
the heels of her
acclaimed role as a
black lesbian in the
excellent Indie flm
Pariah. She returned to
the big screens in last
years Best Picture
winner 12 Years a
Slave.
Djimon Honsou
Born in Benin Repub-
lic in 1964, Honsou
moved to France at 13
where a chance en-
counter with Thierry
Muggler launched a
successful career in
modelling. He soon
made the leap to
Hollywood, appearing
frst in music videos by
Janet Jackson and
Paula Abdul before
making a transition
to flms. Some of his
screen credits include
Blood Diamond,
Gladiator and In
America. He will next
be seen in the Fast and
the Furious 7.
Chiwetel Ejiofor
Mr Ejiofor has been
one of the busiest
actors in Hollywood,
appearing in key sup-
porting roles in huge
blockbusters like Salt,
2012 and American
Gangster. However, he
stepped big time into
leading man territo-
ry in 2013 when he
played real life freed
slave Solomon
Northup in the screen
adaptation of
Northups autobiog-
raphy 12 Years a Slave
for which he received
his frst Best Actor
Oscar nomination. It
sure wont be his last.
Sophie Okonedo
Born to a Nigerian fa-
ther and Jewish mum,
Okonedo is best known
for her Oscar nominat-
ed role opposite Don
Cheadle in 2004s Hotel
Rwanda. A recipient
of the OBE, Okonedo
made her acting debut
in 1991 and has en-
joyed a lengthy career
playing a variety of in-
teresting roles both on
stage and on screen.
She has appeared in
big budget Hollywood
movies like Aeon Flux
and After Earth as well
as less pricey pictures
like Skin and The Se-
cret Lives of Bees.
Charlize Theron
This stunning South
African beauty is in
the news these days
for dating fellow Oscar
winner Sean Penn but
truth is Ms. Theron has
been a constant part
of the Hollywood A-list
since her Oscar
winning turn in the
2003 flm Monster
where she put on
weight and uglied
up to play tragic real
life serial killer Aileen
Wuornoys. She stars
in the upcoming Mad
Max franchise reboot.
David Oyelowo
Oyelowo was born to
Nigerian parents in
London and studied at
the London Academy
of Music and Dramat-
ic Arts. A lot of high
profle work followed
on stage including a
blistering turn as King
Henry VI. One of Holly-
woods busiest actors
now, Oyelowo who is
married with 4 kids,
has appeared in small
roles in Lincoln, The
Butler and Jack Reach-
er. He also has a role
in Christopher Nolans
upcoming big budget
thriller, Interstellar.
Idris Elba
Elba was born in Lon-
don in 1972 but his
birth father is Sierra
Leonean while his
mother is Ghanaian.
He paid his dues on
British television ap-
pearing in many series
but soon tired of the
glut of best friend
roles he was constantly
offered. This led to a
migration to Holly-
wood where he fnally
made a breakthrough
on the cult TV series
The Wire. In 2013, he
played Nelson Mande-
la to critical acclaim in
the biopic Long Walk
to Freedom.
Uzoamaka Aduba
This time last year,
only few people had
heard of Nigerian born
actress Uzoamaka
Aduba. But with the
success of the Netfix
dramedy
Orange is the New
Black, Aduba has got
deserved attention for
her indelible turn as
the inmate Suzanne
Crazy Eyes Warren.
She recently won a
Creative Arts Emmy
for Outstanding Guest
Actress in a Comedy
Series. Heres to seeing
more of Crazy Eyes.
Lupita Nyongo
When it comes to Afri-
cans currently making
a splash in Hollywood,
there is no bigger
poster child than
Kenyan beauty Lupita
Nyongo. The 31 year
old was the break-
out star of last years
awards season run and
her fairytale campaign
culminated in a best
supporting actress Os-
car win for her major
flm debut, 12 Years a
Slave, as well as People
magazine crowning
her as the most beau-
tiful woman alive. She
also landed a Vogue
magazine cover.
John Boyega
22 year old John, born
to Nigerian parents
in London received
attention from his very
frst flm, the 2011
British sci-f adventure
flm, Attack the Block.
He was then cast as
the curious but lov-
able houseboy Ugwu
in Half of a Yellow Sun
where he held his own
among stalwarts like
Thandie Newton and
Chiwetel Ejiofor. He is
currently flming the
forthcoming Star Wars
Episode VII, the contin-
uation of the beloved
saga.
Hollywood is an exclusive club in which the most successful members are more likely to be young, white and skinny. But these
10 names on our list, many of whom have come from far fung locations, are quietly redefning what it means to become a
Hollywood A-lister. Representing the African continent, they have hustled hard, paid their dues and are all but set to reap the
rewards of their hard work. We present 10 African actors in Hollywood.
PHOTOS: COURTESY OF IMDB
9
Who is your favourite African actor in Hollywood??
Oluwaponmile Orija fnds out.. VOX
pop
Dijmon Hounsou
- Adeniyi Adenuga
Hakeem Kae-Kazim
- Ogunsanwo Damilola
Olu Jacobs
- Joyce Amiolemen
David Oyelowo
- Temitayo Amogunla
Stephanie Okereke
- Alexander James
Peter Mensah
- Christiana Olabinke
Idris Elba
- Abioye Ayodele
Chiwetel Ejiofor
- Tobi Bamuyiwa
Adewale Agbaje Akinnuoye
- Bola Gbemibola
10
...continued from last edition
Broadly speaking, IP is protected
in law by these fve types, which
enable people to earn recog-
nition or fnancial beneft from
what they create. By striking the
right balance between the inter-
ests of innovators and the wider
public interest, the IP system
aims to foster an environment in
which creativity and innovation
can fourish. Suffce it to say here
that on April 26 every year, WIPO
member-nations celebrate the
World Intellectual Property Day
to promote discussion of the
role of IP in encouraging innova-
tion and creativity. In fact, WIPO
celebrated the 2014 edition of
World Intellectual Property Day
by showcasing our own Half of
A Yellow Sun movie in Geneva,
Switzerland.
Now, let me attempt to, in more
specifc terms take a cursory
look at the legal framework for
defending copyright nationally
and internationally.
The defense of copyright In-
ternationally
This task falls largely within the
mandate of the World Intellec-
tual Property Organization, the
global forum for IP services, pol-
icy, information and cooperation.
Created in 1967 to encourage
creative activity, and promote the
protection of Intellectual Proper-
ty throughout the world, WIPO
currently has 187 member states,
administers 26 international
treaties and is headquartered
in Geneva, Switzerland. There
are a number of International
Treaties and Conventions on
copyright. These are: the Berne
Convention for the protection
of literary and artistic works, the
WIPO Copyright Treaty (WCT),
the international convention for
the protection of performers,
producers of phonograms and
broadcasting organizations (the
Rome Convention). Other Spe-
cial conventions in the feld of
related rights, the WIPO Perfor-
mances and Phonograms Treaty
(WPPT), the Beijing Treaty on the
Protection of Audiovisual Perfor-
mances. Finally, another interna-
tional agency, the World Trade
Organization (WTO) administers,
the Agreement on Trade-Related
Aspects of Intellectual Property
Rights (TRIPS).
These treaties and agreements
now form the foundation of the
international copyright system.
WIPO member-nations need
to sign, ratify and domesticate
these treaties in order to deploy
effective legal defense of copy-
right internationally.
Copyright and related rights
as anchored by WIPO handles
matters like copyright protec-
tion, subject matter of copyright
protection, rights comprised in
copyright, related rights, owner-
ship of copyright, limitations on
copyright protection, piracy and
infringements, remedies, and IP
and traditional cultural expres-
sions.
Internationally speaking, WI-
POs role in the enforcement of
copyright is primarily consulta-
tive through its enforcement
committee. WIPO also offers
a well-regarded international
arbitration service in the event
of disputes over copyright own-
ership and responds to calls for
specifc expertise on enforce-
ment, by individual Member
States.
The defense of IP nationally
Though IP laws are established
and enforced by each individ-
ual member country of WIPO,
it is however instructive to say
from the outset that most na-
tional IP laws (Legal Framework)
were adapted from internation-
al (WIPO) laws. In treating this
aspect of my paper, my focus
shall be on Nigeria, for obvious
reasons. In Nigeria, the designat-
ed governmental organization
established by the laws of the
Federal Republic of Nigeria to
defend copyright is the Nigeri-
an Copyright Commission (NCC).
However, the Trademarks, Pat-
ents and Designs Registry in the
Commercial Law Department of
the Federal Ministry of Industry,
Trade and Investment, dfends
the other types of IP.
The Nigerian Copyright Com-
mission (NCC)
I understand that the Direc-
tor-General of the NCC, Afam
Ezekude Esq. will latter on during
this conference present a paper
titled: The Role of the Nigerian
Copyright Commission in Copy-
right Protection and the fght
against Piracy. For this reason, I
will be as brief as possible since
most of the issues I would have
raised here are better handled by
the frst citizen of NCC. Be that
as it may, let me proceed by say-
ing that the NCC was established
by an Act over 16 years ago to
defend and protect copyright
and related rights in Nigeria. In
no particular order, I will now
take a cursory look presently
at some of the Legislations and
Regulations (i.e. legal framework)
for defending copyright and
related rights in Nigeria under
NCC.
1. WIPO Treaties: Nigeria is
a signatory of 8 out of the 16
WIPO Treaties concerning IP.
The copyright-related Treaties
signed by Nigeria are the Berne
Convention for the Protection
of Literary and Artistic Works,
of September 1886 as amended
in September 1979, the most
recent Marrakesh (VIP) Treaty
to Facilitate Access to Pub-
lished Works for Persons Who
Are Blind, Visually Impaired, or
Otherwise Print Disabled, of June
2013, the Rome Convention for
the Protection of Performers,
Producers of Phonograms and
Broadcasting Organizations, of
October 1961, the WIPO Copy-
right Treaty (WCT) adopted in
Geneva on December 20, 1996,
the WIPO Performances and
Phonograms Treaty (WPPT) also
adopted in Geneva on December
20, 1996. Sadly however, of the
8 treaties Nigeria signed since
1996, Nigeria is yet to ratify
and domesticate 2 critical ones
(the WCT and the WPPT). Our
countrys failure to do so so
far brings important attendant
demerits.
2. Domestically, there are
presently 10 statutes includ-
ing the Nigerian Copyright Act
governing our copyright legal
framework. The most recent
of those is the 2012 Copyright
Levy on Materials Order, which
is designed to bring revenues to
rights holders based on private
recordings of our works.
This legal framework is useful as
the basis for defending copyright
and related rights in Nigeria.
However, it is left for the copy-
right owner to be proactive and
reactive in ensuring the defense
of these rights, using the avail-
able legal frameworks in Nigeria.
NCC Enforcements: Stakeholders
in the creative industry in Nigeria
have often argued that Nige-
ria copyright and related rights
laws are one of the best in the
world. They argue further that
the problem has always been
enforcement. I cannot agree less
with this postulation. Strategies
used by NCC include but not
limited to test purchase, anti-pi-
racy raid, investigation, court
proceedings, and writing to the
suspected outlet/shop/individ-
ual inviting them but without
disclosing reason for the invita-
tion, among others. It is however
important to point out that the
issue of identifcation of pirated
works rests squarely with the
copyright owners and not the
NCC.
NCC Prosecution: Surprisingly,
the NCC under the leadership
of its current Director-General,
Afam Ezekude Esq., has record-
ed fairly remarkable pass mark
here. Unlike before when NCC
was sleeping and snoring, the
current NCC, though sleeping
but manifestly not snoring, has
made remarkable arrest, prose-
cution and conviction of some
of the pirates in Alaba, Idumota,
Onitsha, Aba, Owerri and oth-
er notorious haven of pirates
in Nigeria. Like most Nigerian
pirates end flms they produce or
sponsor, To God be the glory.
Prosecution of pirates caught in
the act in Nigeria takes the twin
shape of criminal and civil in the
law court. While the copyright
owner handles the civil aspect,
the NCC, representing the State,
handles the criminal aspect. The
copyright owner can only handle
the criminal suit if he/she gets a
fat from the Attorney-General
and Nigerias Minister for Justice.
However, the copyright owner
can simultaneously institute a
civil suit against the infringer
while the criminal suit is on,
with a view to getting damages.
Suffce it to say that while the
criminal suit can attract a jail
sentence, fne or both, a civil
suit can only attract damages in
favour of the copyright owner.
Some salient issues against
NCCs Enforcement/Prosecu-
tion policies: Some of the issues
against NCC here include but not
limited to: terms of sentence be-
ing contentiously very small and
not exceeding 5 years if found
guilty. In fact, no convicted pirate
has ever been sentenced beyond
2 years. Additionally, almost all
the sentence comes with an op-
tion of fne, which can go as low
as a ridiculous sum of less than 2
thousand naira or its equivalent
of 12 US dollars! There is also
the issue of the NCC putting the
burden of funding enforcement
and prosecution on the copy-
right owner, which stakeholders
have consistently frowned at. In
the same vein, there seem to be
inadequate feedback mechanism
between NCC and stakeholders,
particularly its activities at WIPO.
The Legal Framework for Defending Intellectual Property Rights Nationally
and Internationally A Film Producers Perspective (Part 2)
BY ALEX ENYENGHO
11
Like I said earlier, copyright and
related rights are individual
thing. You as a copyright own-
er must act as a catalyst and
breathe the breath of life into
these legal frameworks for the
defense of copyright and relat-
ed rights in Nigeria. It is not just
about NCC. It is more about you
as the copyright owner. In fact,
it is irresponsible for you not
to protect your copyright at all
times!
Distinguished ladies and gen-
tlemen, I would now like to say
a few words about the legal and
economic challenges ahead of
us:
First challenge: amongst poli-
cy makers and legislators here
and abroad, there is a general
perception that copyright is an
obstacle to the development of
new content distribution and
usage models as well as a neg-
ative factor in economic and
social growth. This, as I hope to
demonstrate, is emphatically not
the case.
Second challenge: the wide-
spread unauthorized making
available and use of copyrighted
works. Physical medium piracy
has decimated our business, as
you all know, and as mobile data
and broadband Internet contin-
ues to deploy in Nigeria and the
rest of the region, we now face
the prospect of pandemic levels
of unlawful streaming and down-
loading of the content we create,
fnance and distribute at our own
risk.
Third challenge: in years to
come, following in the footsteps
of Europe, the US and parts of
Asia, Nollywood will begin to see
reduced income from physical
media such as VCD and DVD. At
the same time, the very nascent
nature of the new online Vid-
eo-on-Demand business models
will mean that earnings from
those platforms will likely be very
modest to begin with. This dual
effect of technological mutation
will greatly challenge our capac-
ity to invest in new productions,
to remain a competitive force in
export markets and uphold our
contribution to GDP.
These three challenges should
be analysed and addressed in
the context of unprecedented
technological change: today, the
digital revolution is confronting
the creative industries every-
where in the world, including Ni-
geria. According to the Nigerian
Communications Commission,
our country, with a population of
around 170 million, boasted 156
million mobile phone subscrip-
tions as of October last year, and
it is forecast to reach 200 million
by 2017, according to a promi-
nent Telecom research compa-
ny. Amongst this rising tide of
mobiles, we are going to see a
growing proportion of high-per-
formance smart phones able to
stream data-rich content, in-
cluding large video fles such as
feature length movies, to a high
defnition standard good enough
to make the experience attrac-
tive to the Nigerian consumer.
In parallel, the Communications
Commission has announced a
target of 30% broadband cov-
erage by 2017 and as prices to
the consumer continue to drop,
we can expect a fast increase in
the take-up of tablets and oth-
er broadband-enabled devices
delivering e-learning and enter-
tainment contents.
So, here we are, standing at the
crossroads. Depending on which
path we take, which policies we
formulate and adopt, the rapid
growth of digital technology
infrastructures in Nigeria will ei-
ther deliver us unto a dystopian
future with diminishing returns
and shrinking economic oppor-
tunities for content creation; or it
could afford our creative sector
and other allied creative indus-
tries a chance to shine on the
world stage and make a major
contribution to our economic,
social and cultural welfare.
In the light of the challenges I
have just articulated, I would
now like to address some spe-
cifc pleas to the public decision
makers in attendance today.
Developing, flming, editing,
post-producing and selling flms
for distribution are necessary
steps in the life cycle of a flm.
In order to be successful in each
stage, the producer imperatively
needs to secure signifcant up-
front fnancial investment. Both
investors and producers need a
secure legal and commercial en-
vironment in order to have even
the slightest chance of recouping
their investment and in only
too few cases, alas to generate
a small surplus, which can be
put into future flm production.
So, if we want more high-end
productions to come out of this
industry and make a serious dent
on the export markets, earning
us foreign currency and other
economic beneft, there is a need
to ensure that the legal frame-
work supports a strong return on
investment.
Therefore, my frst message for
decision makers is this: Copy-
right is the basic tenet for a long
term, sustainable flm production
and distribution industry. With-
out strong copyright protection,
an industry like ours can invent
itself against all odds and get
up on its feet but it can nev-
er sustainably break out of the
low-budget/low-production-val-
ues nexus and make its full con-
tribution to GDP growth.
In order to serve its purpose
as an incentive to creation and
creative enterprise, the copyright
framework must strike a balance
between protecting the creators
and producers and establish-
ing reasonable terms under
which the public has access to
flms and audiovisual content in
certain circumstances. It must
also offer local and global legal
security for the considerable
fnancial investment required for
competitive flm production and
distribution.
Film producers consider that
copyright is the indispensable
establishing infrastructure for
any flm community to grow, to
thrive and to make its full contri-
bution to a countrys culture and
economy. Any changes to our
own national copyright law and
to the international copyright
system must therefore be pre-
ceded by in-depth refection on
the impact on the flm industry
as a strategic cultural and eco-
nomic sector. Therefore, I urge
the Nigerian Copyright Commis-
sion and Government to consult
again with Nollywood and other
keynote cultural industries in
Nigeria on the current review of
our copyright law. I call on them
to commit to an open and fair
process of consultation with our
creative industries. I also urge
them to consider the urgent
need to ratify the WIPO Treaties
and that the rights we produc-
ers need in order to engage in
the high-risk business of flm
content, be suitably updated
to refect technological change
and evolving forms of consumer
uses I refer in particular to the
right-of-making available to the
public, which we crucially need
in order to make secure our
transactions with the fast grow-
ing number of video-on-demand
platforms dedicated to Nolly-
wood contents.

My second message to policy
makers is this: the exercise of
exclusive rights and contractu-
al freedom is vital for creating,
fnancing and distributing flms
at home and abroad. Contrac-
tual freedom and the possibility
to exercise exclusive rights on a
title-by-title basis is essential to
the kind of latitude which flm
producers and distributors need
in order to ensure the optimal
exploitation and exposure of
each flm and this to the bene-
ft of all the fnancial and creative
contributors to a flm. No two
flms are ever the same and each
flm requires dedicated produc-
tion, fnancing, creative, technical
input as well as a tailor-made
marketing and distribution plan.
Whatever methodology is de-
ployed to manage rights and
collect revenues from flm ex-
ploitation, it should not ever be
done at the expense of contrac-
tual freedom. Whether collective
management or face-to-face,
value-based licensing is involved
and any flm industry needs
both in order to function the
principle of contractual freedom
must remain paramount.
I referred earlier on to the acute
issue of piracy in our country.
Physical and online piracy is theft
of the intellectual and private
property of right holders, includ-
ing producers. Piracy weakens
Nollywoods ability to continue
to create, fnance and distribute
flms, and therefore to respond
to public demand for contents
or to contribute to GDP and job
creation. Now comes my third
message to our Government
and others around the world:
we call on you to help us ensure
that appropriate measures are in
place, and to make the enforce-
ment of such measures a priority
so that illegal activities which
undermine our sustainability as
a creative sector, be more effec-
tively discouraged. Innovative
public awareness campaigns
should be considered as part of
this, especially those aimed at
educating younger Nigerians to
the importance of copyright for
their own future employment
prospects. As far as the emer-
gent online flm content econ-
omy goes, we also believe that
governments are indispensible
partners to foster cooperation
with Internet service providers
to address the rampant illegal
practices offine and online as
well as raising public awareness
about the negative impact on
our creative sectors of unautho-
rized making available and use
of copyrighted works. Let me be
clear: the future of Nollywood as
a long-term sustainable busi-
ness will depend on our ability
to license legally to the growing
number of VoD platforms which
are helping internationalise the
market for our flms. These legal
platforms will not survive unless
their business can be effciently
protected from the unfair com-
petition from pirate websites. If
these legal platforms should fail
due to the proliferation of those
pirates, we will eventually be left
with no local content industry at
all; we will have to rely increas-
ingly on imports from other
countries and a historic oppor-
tunity for owning our own narra-
tives and enriching our country
will be foreclosed.
12
My fourth message to Govern-
ment concerns the hotly debated
issue of exceptions and limita-
tions to copyright. We are aware
that Member States at the World
Intellectual Property Organi-
sation (WIPO) are discussing
whether there should be addi-
tional or mandatory exceptions
to copyright. ANCOP, like all the
other constituent organisations
in FIAPF, believes that exceptions
and limitations are part of the in-
herent balance in copyright laws,
which is already present in the
existing international copyright
treaties and our own national
law. Current international legis-
lation and case law worldwide
demonstrate the fexibility and
pragmatism of copyright laws
as they stand and their ability to
protect the fnancial and creative
investment in copyright works
while at the same time ensuring
that the public can enjoy these
works in multiple ways.
I call on the Nigerian Govern-
ment to consider very careful-
ly their position on Copyright
issues at WIPO, especially with
regard to exceptions and limita-
tions to copyright. I urge our de-
cision makers to formulate their
WIPO strategy through open,
direct and ongoing consultations
with our industry and to take our
views into account as a growing
force in the national economy.
My fnal message is this:

We are fast mutating into an
industry with global export
potential. Our growth will there-
fore hinge on being able to rely
on consistent legal security for
our contents everywhere on
the planet: we therefore need,
that international standards are
well and truly in place in foreign
countries where our national
flms are exported in ever larger
volumes. I therefore re-iterate
my earlier invitation for our Gov-
ernment to ratify WIPOs interna-
tional treaties, in particular WCT
and WPPT, and to promote their
ratifcation in our continent and
further.
In closing, I want to remind you
of what I said earlier on: the big
headline we can derive from the
new estimates by the Nigerian
Bureau of Statistics is that were
now an industry worth $3.3
billion, producing over 1,800
flms a year. We can choose to
be irresponsible about this, feed
our collective ego on this heady
fgure and decide to deny that
challenges exist. Or we can be
responsible and focus instead
on the very real risk that this
industrys future is very far from
secure. So long as we do not
control our rights, so long as
were not able to control their
use inside secure and trans-
parent distributions networks,
we will fail to return a suffcient
proportion of the economic
value generated by our activities
back where it belongs: in the
remuneration of those who work
in our industry and in the pool
of working capital necessary to
make us sustainable and com-
petitive.
I wish to thank you all for your
attention and for the opportuni-
ty to refect on the flm industrys
current opportunities and chal-
lenges nationally and interna-
tionally.
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REVIEWS
.
ARTICLES
.
PICTURES
INTERVIEWS
.
LISTINGS
.
NEWS
COMPETITIONS
.
FEATURES
CARTOON
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CELBERATIONS
NOLLYWOOD
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PICTURES FROM THE SET OF
BIYI BANDELES
HALF OF A YELLLOW SUN
13
14
L
Y
D
I
A
The only way to unite

Africa is through flm.
F O R S O N
COVER INTERVIEW
15
Acting: nature or nurture?
I think its a bit of both. No matter how talented you are, the only
way to improve is to build on your craft.

How did your parents react to your chosen career?
Im very lucky to have the parents that I have. Unlike most, I was
always encouraged to do what I felt most comfortable doing. I
think my parents always knew I would end up doing something in
the arts, so when the subject of acting came up, it didnt come as
a surprise.

What would you consider as one of of your lowest points as an actress?
Thats hard to say. I cant say I havent had low points but its hard
to pin one down as the lowest.

What does success mean to you as an actress; a challenging lead role in a
low budget flm or a small role featuring alongside international stars in a
big budget blockbuster?
It would be hypocritical to say that the idea of working alongside
international stars isnt tempting but for me its not about how
big or small my role is in a movie. Its about the signifcance of my
character to the story and how good the story is itself.

Have you lost jobs because you were not fair or skinny?
If I have, I dont know about it. Probably no one has been bold
enough to tell me to my face. I have, however, had people on rare
occasions make references to my size or colour and how I would
be making more headway in my career if I were fair or
skinny. On the subject though, I dont think theres anything
wrong with a director casting someone because of their colour or
size, if the reason fts the story. The only problem I would have is if
they do this because they feel one colour or size is better than the
other.

What does beauty mean to you?
I think beauty is basically how a person feels about themselves.
This may sound a little metaphorical but thats what Ive grown to
believe. How you feel about yourself refects on how others view
you. If you think and believe youre beautiful, it will show in every-
thing you do.

Have you ever been harassed on set before?
Not that I can recall. When I walk into any environment, I lay my
ground rules. Its not always verbal but by my actions, you will
know I have very low tolerance for disrespectful and bad be-
haviour. People always treat you the way you allow them to.

Congrats on a successful reign as AMAA ambassador, how did this expe-
rience impact your career?
Thank you. It felt like a validation of some sort because no mat-
ter how much, artistes will play the humility card. We all like a
little recognition at some point. Truth is, every artiste creates a
brand for themselves even if its not deliberate. And sometimes
the brand you have may or may not be a good one depending on
others. And so AMAA made me feel like I was doing something
right.

Acting in Ghollywood and Nollywood...any difference?
Both countries have a lot more in common than we think. Ob-
viously, Ghana is easier for me because its my country and Im
probably more easily understood. However,
Nigeria is more fast paced and can tend to be a little
overwhelming but that adds to the thrill somehow.

Who would you love to wrk with in the future?
I have a long list. Id rather not say, so I dont get into trouble.
Its a very long list; Im greedy like that.

What inspires you as an artiste?
Life. Ive probably said this too many times and it maybe
getting tiring but I love life--its twists and turns and how
unpredictable it can be sometimes.
Do you intend to go back to school for training anytime soon?
I think improving on your talent is important but I dont feel the
need to get a certifcate to prove how good I am. If I ever do go
back to school, it would have to be for something specifc and
absolutely necessary.
Do you plan to go behind the scenes soon?
Ive been working behind the scenes for years but Ive just never
been public about it. Ive written a lot of scripts and done
associate producing. In fact, Ive always worked on all the scripts
of movies Ive been in. This year Im set to premiere my frst self
produced movie called A Letter From Adam and Im excited for
people to see it.

Beyond acting, do you have a side hustle or has acting been able to pay all
the bills?
Acting in Africa isnt as lucrative as it is in the West but I fnd it
almost offensive when people ask what else I do apart of acting. I
wonder if people ask bankers or lawyers what else they do aside
from their careers. When you understand your brand as a celebrity
you will always have something to do. Showbiz goes beyond your
art, once youre a brand, the opportunities are limitless and they
keep you occupied and paid, even if it isnt enough.

Since you have started acting, what is your weirdest experience with a
fan?
Ive had a lot of weird encounters and I think it still hasnt sunk in. I
ask myself: I, Lydia Forson, can have such an effect on an individu-
al? I think one of the most surreal encounters was when a fan
wanted to take a picture with me and was so starstruck that he
started to tremble. It felt like a movie. I still cant believe that
happened to me but its humbling to know you have such an
effect on people.

If you could start all over again, what would you do differently?
Nothing. Everything Ive been through has led me up to this point.
Although, Im not where I want to be, I feel Im where Im
supposed to be because this is my journey and my story.

If you were not an actress, what would you be doing?
I would defnitely be fully dedicated to my charity work and any
other NGO that would have me. I love charities because I feel the
joy they bring people is priceless.

What is the next big thing for Lydia Forson?
I dont know and thats the beauty of life. But Im excited to see
where God takes me next.

Any plans to settle down soon and start a family?
I dont believe in putting a time on such things. Im one of the few
people you would meet who doesnt dwell on this subject. I dont
consider it a requirement or a validation of my worth as a
woman or human being. Marriage and kids are great but in the
end it shouldnt defne who you are.

Describe your ideal man.
A respectful man. Respect is the most important thing in a
relationship to me. A man who respects you will love you the way
you should be loved.

What are your hopes for African cinema?
I hope I live to see a more united African cinema. The only way to
unite Africa is through flm.

What is your favourite African flm of all time or top three?
Im terrible at favourites and choices. I like too many things all at
once.
What advice do you have for those wanting to pursue a career in acting?
You have to stay true to who you are no matter what. You will
get a lot of NOs for it but when you do get that YES, it will all be
worth it.
What was the last movie you watched?
Despicable Me 2.
INTERVIEW: OLUWAYOMI OLUSHOLA
PHOTO: COURTESY OF LYDIA FORSON
COVER INTERVIEW
16
The Challenges of Making a Historical Film in Nollywood
BY IKECHUKWU OBIAYA FOR THE NOLLYWOOD STUDIES CENTRE
What is an epic flm? This is the question that the producer/director, Lancelot Imasuen,
set out to answer as an introduction to the topic, The Challenges of Making a Historical
Film in Nollywood: Invasion 1897 as a Case Study. The occasion was the August edition
of the Filmmakers Forum of the Nollywood Studies Centre. On that occasion, he spoke
at length about his new flm, Invasion 1897, a flm based on the invasion of the Benin
Kingdom by the British.
According to Mr. Imasuen, the genre of the epic flm is common worldwide, but the term
is largely misrepresented in Nigeria. People erroneously see it as just a style of flm-
making with large scale, sweeping scope and spectacle, often transporting the viewer to
settings of old. Those that hold this view consequently equate the epic to a showing of
mud houses, large crowds, and people dressed in raffa palm skirts. But the true epic is
not limited to this; rather, it deals with themes that are of historical, national, religious, or
legendary importance and uses an elevated style to celebrate heroic accomplishments.
Mr. Imasuen indicated that his desire to make epic style flms is motivated by the wish
to draw out important events from the past, and to relate the problems and solutions of
the past to present realities.
Lancelot Imasuen then went on to speak about the challenges of making a historical flm
in Nigeria. In talking about such challenges, he said, one must begin by considering the
general problems of the country and the common problems that face the Nigerian flm-
maker. The Nigerian flmmaker has to contend with the lack of access to public places
for shoots; the absence of funding from fnancial institutions; the drought of trained flm
professionals; and the non-existence of structures such as sound stages and flm villages.
All these make it particularly challenging to produce a historical flm in Nigeria.
To make an appealing and believable epic flm, the flmmaker said, requires in-depth
research in order to come up with authentic period costumes, makeup and scenery. This,
in turn, requires well trained professionals that know what to do and can effectively and
convincingly create the right atmosphere for the flm. Unfortunately, he said, the bulk of
flmmakers in the Nigerian flm industry among whom he included himself had not
had the opportunity to sit in a flm class. Most of them, he noted, were largely passion
driven. Thus, the required skills were often hard to come by.
But the absence of funding turns out to be one of the greater challenges. A convincing
epic flm is necessarily a big budget flm, Mr. Imasuen noted. He said about six million
Naira had been spent on research alone for Invasion 1897. In addition the recreation of
the historical period concerned required a heavy investment in the construction of props.
He noted, for instance, that the ship used in Invasion 1897 had to be built from scratch.
This involved felling a tree for the purpose. The guns and the canon that appear in the
flm were also produced under the supervision of the police. Thus, he said, 90% of his
budget was spent on the crew and props.
In response to a question about whether he would consider his latest offering a new
Nollywood flm, Lancelot Imasuen vigorously affrmed, Invasion 1897 is a Nollywood
flm! He dispensed with the adjective new, noting that the changes in Nollywood are
merely developmental ones, which were inevitable in any case. Maybe its that Nolly-
wood has come of age, he said, and people can [now] distinguish between good and
bad.
Invasion 1897 will be premiered in Toronto at the Toronto Africa Film and Music Festival,
in August 2014, and the Nigerian cinema release will take place on the 1st of October,
2014.
Read every edition on
www.nollysilverscreen.com
17 N E W S
Journalists rewarded in maiden edition of AMAA Media Recognition Awards
Akintayo Abodunrin of the Nigerian Tribune has
emerged top in the maiden edition of the Africa Mov-
ie Academy Awards Media Recognition awards. He
emerged the biggest winner with a $3000 dollars cash
prize when the winners were announced among the
10 fnalists during the Africa Film Academy Charity
and Praise Night at the Oriental Hotel, Victoria Island,
Lagos.
Akintayos winning entry titled Catalyst to greatness:
How AMAA aided their rise to the top led the pack
and was described by Dr. Ifeoma Amobi of the
Department of Mass Communications, University of
Lagos as the entry that captures and embodies the
very reason for the existence of AMAA as an enabler
of professionalism and success for motion picture
practitioners. AMAA celebrates creative and artistic
excellence and winning an AMAA awards catapults
winners to a new height in their careers. Akintayos
entry interrogates and reviews the progression in the
careers of past winners of AMAA in the last 10 years
and the impact the award had on each and every one
of them using their own testimonies. It was delivered
in a very lucid and elegant language devoid of any
ambiguity.
Funke Osae-Brown of Businessday came second with $2000 dollars cash prize with her entry Peace Anyiam-Osigwe on a show beyond
the continent while Biodun Kupoluyi of E247 Magazine and Isabella Akinseye of Nolly Silver Screen tied for 3rd position with cash prize
of $1500 dollars each. Collins Ukaonu of Galaxy Television and Njenga Micugu of Nairobi Digest won the two consolation prizes of
$1000 dollars each.
The AMAA Media Recognition Awards was designed to celebrate journalists in Africa who have helped to project the awards and the
motion picture industry to the rest of the world. AMAAs Media recognition awards 3-man committee was coordinated by Mr. Steve
Ayorinde, the Chairman of AMAA 2014 Jury. Other members of the screening panel for the media award were Thisday newspaper col-
umnist, Mrs. Onoshe Nwabuikwu and Dr. Ifeoma Amobi of the department of Mass Communication, University of Lagos.

Collins Ukaonu of Galaxy TV, Isabella Akinseye of Nolly Silver
Screen, Akintayo Abodunrin of Tribune, Funke Osae-Brown of
Businessday, Biodun Kupoluyi of E24-7 magazine
18 14 18
Award winning director KENNETH GYANG talks to
Isabella Akinseye about his flmmaking journey, touring
the world with Confusion Na Wa and his next big project
Tell us about your journey into flmmaking?
My journey into the real world of flmmaking
started right after my secondary school. I
got an admission to study Scripting,
Producing and Directing at the National
Film Institute in Jos. There, I met a lot of
smart students who really understand what
flm is about. We used to run mini sessions
of flm critique, taking on deep flms from
world cinema and trying to deconstruct
them. It was fun. That opened my eyes to a
lot of things about flm and formed the ba-
sic foundation of my knowledge in this craft.
Was your decision supported by your family?
My mother had cold feet at frst. Most
people around had their children enrolling
into regular institutions of higher learning
to study regular courses. An uncle of mine
thought going to study flm was like going
in to study theatre arts where they just
dance and dance without doing anything
constructive or brain tasking. By Nigerian
higher institution standards too, the school
was considered expensive. So imagine
spending so much money on a child to get a
worthless expensive education. That was the
feeling at home but later on, my mum went
all gung-ho in her support for me and I was
glad she was around on stage with me to
collect the prestigious Best Film at the Africa
Movie Academy Awards. I wouldnt really
say I let her investment down in that regard.
FILMMAKER INTERVIEW
What informed your choice of studying in
Nigeria?
First of all, it was the money. When inter-
net frst came into the country there was
a popular college website called Fastweb.
Those guys can link you up with so many
schools in America. I used to click on a lot of
flm schools in America and their brochures
came in droves into my post offce box but
their school fees were outrageous. Thirty
to forty thousand dollars is something my
mum could genuinely not afford. Then I
enrolled into the National Film Institute after
seeing its poster accidentally. Today, I am
really glad to have studied here in Nigeria at
the NFI because going abroad would have
meant those guys taking all the credit for
what I have been able to achieve today. My
staying will also encourage other upcoming
flmmakers to know that flm can really be
studied in Nigeria and they dont need to
run their hair bald trying to raise those out-
of-the-world fees.
How will you rate the education and training you
received?
I cant rate the education and training I
received here because I think my works
should enable people rate me based on
what they see and think. I am of the opinion
that people look down on the quality of flm
education we receive in Nigeria, whether out
of ignorance or low self esteem. I remem-
ber meeting a well trained lawyer in some
Abuja bank and she recognised me from a
program she had seen on TV with her hus-
band. In watching the program, they had
discussed how Nigerians will keep on churn-
ing out low quality productions based on
the small boy they are seeing on TV. When
we had a small conversation and she real-
ised the countries I showcased my flms and
where I had been to through flmmaking,
she changed her opinion and said I should
have mentioned all of that in the program.
I think it is colonial mentality that we think
you have be out there in Europe or America
to be good in whatever feld youre in. No
disrespect to the ones who are going but I
think this profession is all about what you
can do creatively and not about paper CV.
Your education does not matter because
over the years, in the history of flmmaking,
there are a lot of people who learnt the art
of the craft in their living rooms and
garages.
Tell us about the development of Confusion Na
Wa.
Confusion Na Wa was written by Tom Row-
lands-Rees and myself. It was the script that
encouraged us to form the production com-
pany Cinema Kpatakpata, the basic founda-
tion we needed in order to apply for funding
which we did from the Netherlands.
How were you able to raise funding for the
project?
After forming the production company we
started looking around for bodies who give
grants to flmmakers around the world.
World Cinema Fund of the Berlinale Film
Festival in Germany was complicated be-
cause you have to get a German partner/
producer. We were part of the Berlinale
Talent Campus which was where I met my
collaborator Tom but the wahala was getting
a German so we opted for Hubert Bals Fund.
It was our frst application ever to a fund-
ing agency and voila! We got it.They were
really impressed with the script that they
recommended us to Durban which was how
our project got selected to be part of the
Durban FilmMart in 2010.
What was casting process like?
Easy. Our partner and cinematographer
Yinka Edward knows how to get in touch
with Ramsey whom he had worked with on
The Figurine. We sent Ramsey the script and
later learnt he read it on his way to America
and when he landed, he called Yinka at the
airport to tell us he wants to be in the flm.
OC Ukeje, Ali Nuhu, Gold Ikpommwosa and
Toyin Oshinake are people I worked with on
set of the BBC TV series Wetin Dey. We gave
them the script and they all bought into the
idea of being in the flm. The script was our
biggest selling point; we didnt have to try
hard to convince the actors. Tunde Aladese
is an excellent writer who has been the head
writer of MNETs Tinsel. She is beautiful and
never had any flm acting experience but
she took out time from her busy writing
schedule to be in the flm as Isabella. She
won Best Supporting Actress at the Nigerian
Entertainment Awards in New York so I hope
she will start thinking of the possibilities of
being an actress.
Any memorable on set experience as director?
Lots of memories but how about the shock-
ing Abuja bomb blast on the frst day of my
shoot?
Since the movie premiered, what has the
response been like?
When the programme of the New York
African Film Festival was presented to the
Mayor of New York City, Bill de Blasio to
select a flm he would like to see at the 2014
edition of the festival, he selected Confu-
sion Na Wa! He came to watch the flm with
his wife at the prestigious Lincoln Centre.
Since the flms premiere, it has got fantastic
reception from Nigeria and beyond and I
am not talking like a Nigerian flmmaker that
wants to talk up his flm. The reviews were
highly positive and it fnished as one of top
ten African and Nigerian flms of 2013. It
won Best Film at the Africa Movie Academy
Awards and Nollywood Movie Awards and
Jury Award at the Pan African Film Festival in
Los Angeles. The flm has shown in several
cities like Rio de Janeiro, Paris and was the
opening flm of New York African Film
Festival 2014.
What has it been like taking the flm around the
globe?
It has been wonderful touring the world
with it. It will show in Edinburgh next and
Portland. I was pleasantly amazed when
Ford Foundation sponsored me through
the Institute of International Education to
showcase the flm in Brazil in the company
of illustrious flmmakers like Cheick Oumar
Sissoko, Newton Aduaka and Tunde Kelani.
Touring the world is not the only pleasure,
sitting in a theatre and seeing how different
audiences from different parts of the world
give the same reaction to the flm makes me
realise that the collaboration that gave birth
to Cinema Kpatakpata has not been disap-
pointing.
Have you been able to break even and make
proft?
Despite the flm being yanked off the Nige-
rian theatre because of disagreements over
distribution, I will say yes. I think at the mo-
ment we have broken even and the flm is
not out on DVD yet and were yet to explore
some of our distribution alternatives.
How infuential will you say your AMAA win has
been in the distribution of the flm?
I am not sure there is a bigger flm awards
event in Africa than the AMAAs. Before your
readers will start screaming that they know
one or two, a flm festival is different from
a single night of flm awards and in that
regard, no one comes to the Africa Movie
Academy Awards. We didnt have enough
money for publicty and we know that if only
we could get into AMAA and win it, people
will sit up and take notice. It was unbeliev-
able. I am sure that a lot of people were
shocked that a little known flm won until
they sat down to watch the work put into
making the flm. In conclusion, I would say
we werent happy with the distribution be-
cause some cinemas showed it on DVD and
even though they didnt use the specifed
format they asked us for the flms showcase,
it was still able to gather a lot of interest.
Advice for upcoming flmmakers?
Keep watching a lot of flms and study the
craft of storytelling both on paper and in
flms. Without a solid screenplay, your flm
will never make the grade.
Tell us about your new project?
We are currently working on a project called
This Is Lagos. It is a gangster flm layered
with music. I dare say the script is better
than Confusion Na Wa.
Why, Lagos?
Lagos to me has the potential to look stun-
ning in a flm like the way you see Rio de
Janeiro. People wear masks in Lagos, pre-
tending to be what they are not in different
places. The hustle and bustle of the city will
serve as a massive backdrop in telling our
story.
When will you start production?
Once we have all the fnances in place. At
the moment we are expecting to get some
money from Project ACT Nollywood. The
money wont be enough to cover our pro-
duction but at least it will be a huge leap
forward.
Who are some of your role models?
Alejandro Gonzalez Innaritu, Quentin Taran-
tino and Martin Scorsese.
What is your favourite line from a movie?
Frankly my dear, I dont give a damn, from
Gone With The Wind.
If you were not a flmmaker, what would you be
doing?
Journalism.
PHOTO: COURTESY OF KENNETH GYANG
19
FILMMAKER INTERVIEW
The digital rise of African and Caribbean entertainment a changing industry
Theres nothing to watch on TV a phrase bandied around more often than
not across generations, across continents. Its amazing considering theres
so much content, but with programmes ranging from reality to game shows
across TV channels, the want for something more interesting and dramatic
has increased. People want something new and fresh or so to speak so its
no surprise that there has been a rise of Video on Demand content being
produced for the masses who cant fnd anything to watch on TV. With the
likes of Netfix and LoveFilm mesmerising people with interesting and often
exclusive content, it was only a matter of time before the African Caribbean
population demanded content for themselves channels that spoke to them
and told their stories.
Theres been a supply to that demand from industry leaders, iRoko and Ibaka
offering all things African from TV shows to flms, featuring movies in par-
ticular from the second largest flm industry in the world Nollywood. With the rise of this industry, the increase in demand for content
has of course risen with it Africans prove that they cannot be left behind in the digital movement and most certainly not in terms of
the entertainment they require. Emerging and established online platforms for African content see to it that this is not the case, howev-
er, there still remains a conspicuous lack of Caribbean content.
One of the frst platforms to provide streaming and downloadable content from Africa and The Caribbean to a global audience is Udala,
providing content in both English and French, therefore catering to the wider scope of African and Caribbean audiences. With a target
audience that had seemingly been overlooked, Udala has set itself apart as a new platform offering more wider outreach, exclusive
content and home grown productions for their audiences across the Afro-Caribbean world. The African/Caribbean entertainment land-
scape has been changing drastically and continues to evolve at a rapid speed. Nollywood churns out flms at the rate of 40 flms per
week at an average cost of $40,000 per project. Nollywood has built itself into a $590m industry in less than two decades. Along with
Nollywood is the rapid growth of home grown content, from TV shows in South Africa to Kenya to original African web series being pro-
duced online and showcased on platforms like YouTube and Vimeo, the interest and demand are obvious.
A variety of challenges has haunted Nollywood since inception, but two of the most import-
ant challenges spoken about in Nollywood 10 years ago were poor distribution, and piracy. The
important challenges everyone is still speaking about in Nollywood 10 years later are poor dis-
tribution and piracy, wrote technology strategist Jide Rotilu in an article published on CP-Africa,
further highlighting the bigger danger posed by torrent sites, a more cut-throat form of piracy
that transcends beyond the one-man hawker. Its for this reason that the rise of VOD platforms
and particularly subscription based VOD channels are becoming popular with both industry pro-
fessionals and audiences alike.
iRoko in particular is a platform that has garnered itself a following and has often been labelled
the Netfix of Africa for having responded to the growing demand of bringing African enter-
tainment closer to our homes, as well as the likes of platforms like Ibaka, Dobox, TV Nolly and
Afrinolly. Most of these existing platforms have made it possible for users to stream movies on both a free and pay-as-you-go service.
Udala, the newcomer to the scene, comes in targeting a whole new audience setting itself apart from the other existing platforms. Ca-
tering to both French and English speakers means Udala has tapped into a once overlooked audience. Udala offers its viewers exclusive
entertainment that is produced solely for Udala and its audience.
So we come back to the fact that it has become
quite commonplace in the past decade or two
for people to complain that there is nothing on
TV. The ability to watch a programme from any
device anywhere at any time is a luxury that
VOD provides. There is a new, complex way of
watching television: tailored to the needs and
desires of consumers. There are many pros to
this movement including the growth in enter-
tainment that is made for Africans and Caribbe-
ans; media that is therefore relatable rather than
just the mainstream. Also, the convenience it
brings to viewers to watch whenever and wher-
ever. Having said that, there are also cons; from
pricing to supply and demand across the grow-
ing number of platforms as well as the inevita-
ble need for internet connection which could
prove to be a slight hindrance.
In conclusion, it is safe to say that online video
viewing is growing and is likely to draw more
visitors than the traditional type of viewing.
Looking at Africa and the Caribbean in particu-
lar, there are large numbers out there frustrated
as they do not see their lives refected in the
more mainstream media. With the rise of the
Me generation using social media, engaging
with and creating content as well as sharing
their opinions means online, VOD platforms will
continue to grow and continue to strive to meet
the demands of an ever evolving consumer,
across the globe. -MPONA LEBAJOA
20
FEATURE
photo N E W S
21
Winners
emerge
in GoTV
Facebook
Challenge
Sodiq Yusuf Chukwudi Precious Ebuka
Amstel Malta Act the Part winner Bola Suru meets Genevieve Nnaji
Bola Suru getting glammed up
Bola Suru and Genevieve Nnaji
A quick glass of Amstel Malta before dinner
Group pic with Amstel Malta brand team
Have you always been interested in flmmaking?
Not really, I only settled for flmmaking 8 years ago. I started off as a Chartered Accountant after a decade
of working very long hours. I went to De Montfort University to do a Business Studies degree specialising in
marketing as I already have a fnancial background. Five years after graduation, I then realised I wanted to
make flms. Although, for the last 18 years, I have written poems, songs and many short stories.
What inspires you as a creative professional?
This might sound weird but I am inspired by the struggles human beings have to go through
in life just to survive. Their smiles, laughter, cry, hope, stories and how simplistic they make life
seem to others around them. So, my creative mind is the voices of many through me and my
professionalism is something I develop everyday as I live.
How did your training prepare you for a career in flm?
Well! I was excited when I got to flm school in Canada and I was on the ball soon as we
started lectures. At the time, I didnt like editing because I sometimes edited with my DJ
friend many years ago and we can be in the studio for hours. With flm, it can be for months.
They told me it was compulsory and there was no ground to argue, so I did it grudgingly. For
me, that was the highlight of my training. Now, I have the advantage to produce a flm
independently from start to fnish all alone. The down side to that is that it will take forever,
but you know what I mean?
Writing vs directing?
This is quite a funny question because before I went to flm school,
my strongest thing was writing and directing. So I am for both.
Who are your role models?
I have a thing for people who stand for what they believe in but I
am not a radical. My role models are Wole Soyinka, Fela Anikula-
po-Kuti, Mandela, Funmilayo Ransome Kuti, Margaret Ekpo and a
whole lot more.
How fnancially rewarding has the journey been?
I dont put money before anything I do. I understand money is a
factual necessity but when you make money your priority or
primary focus in everything you do, it becomes a problem.
Any plans to go in front of the camera soon?
I think you have been spying on me. I did a documentary about
my coming back to Nigeria and I had to talk on camera for the frst
time. It was a very challenging experience but I had fun.
If you were to choose an alternative career, what
would it be and why?
I wanted to play basketball in the NBA or I would have been a full
time basketball coach because I love basketball and teaching is
another passion of mine.
What are your views on Nollywood?
I appreciate Nollywood. I am very proud of the great achievements
it has made to date but I think its time to make a change to Nolly-
wood.
Do you feel a sense of belonging?
I am a great fan of Nollywood and I love watching Nollywood flms.
In fact I just saw Pampe Aye some days ago. Therefore, I wont
claim or deny whether I belong to Nollywood because creativity of
all kinds needs to be appreciated.
Share with us your current projects?
I just completed a short flm called iSabi which is an idea that start-
ed as a joke. I then wrote a script around it and produced the frst
episode of many to come. You can see the flm on www.realsolid-
productions.com/new-release/ I am also releasing a documentary
soon titled Expect the Unexpected which is about my initial experi-
ences when I frst arrived in Nigeria May 2014.

What challenges did you face and how did you over-
come them?
Challenges is an everyday occurrence in life and we all deal with
them differently. We just need to love one another and stop being
hypocrites, then the world will have less challenges.

Where do you see yourself in the next three years?
I hope to be in Nigeria permanently doing what I love doing the
most which is flmmaking. Nigeria is a beautiful place to make flms.
What is the best piece of advice you have received?
Do not judge a book by its cover. I have stuck by that advice ever
since I was 15 and most of what I am today is because I try to love
everybody I meet wholeheartedly.

What is your favourite line from a movie?
You always want what you want when you want it from Love
Jones.
PHOTO: COURTESY OF KUNLE ODUNEWU
22
Q and A with
KUNLE ODUNEWU
BY EBUNOLUWA MORDI
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INTERVIEW
23
STARRING IN DAZZLING MIRAGE
It was defnitely one of the best experiences in my career. A senior colleague
recommended me to Tunde Kelani and he gave me the novel. Besides being
excited about working with Uncle TK, I was drawn to the story. It was a huge
mix...exciting, demanding, revealing and most importantly, a learning process.
I had so many talented and experienced people around me so I was in a safe
place. Uncle TK was very understanding and patient. He pushed me to do
more.
FROM INSURANCE TO THEATRE
Well, its not a surprise that I am here. Ive always been in love with performing.
I was very active on stage as a child and loved (still love) speaking in front of
people. So I would say it was bound to happen anyway.
STAGE VS SCREEN
I am an actor and I would perform on all platforms as the job demands. I love
what I do so it really doesnt matter whether its theatre or flm.
NOLLYWOOD IN TEN YEARS
Im very excited about the Nigerian movie industry. Quality pictures, good sto-
ries and excellent acting are taking the forefront. More exciting is the rise of the
next generation. So in a decade, I suspect that our industry would be a major
game changer in the world.
FAVOURITE NOLLYWOOD MOVIE
Amaka Igwes Violated. I still remember the frst time I watched it.
LAST NOLLYWOOD DVD PURCHASE
Torn by Moses Inwang and I loved it!
OTHER PASSIONS
Im passionate about casting and producing. In fact there are other sides to me;
I teach improvisation in Drama at the Lufodo Academy of Performing Arts. Im
also a global shaper with the World Economic Forum.
CURRENT PROJECT
Im currently working on producing a stage play The Wives with Joke Silva, Kate
Henshaw, Jide Kosoko and Iretiola Doyle. I have other projects in the oven.
BALANCING ACT
My professional life and my personal life go hand in hand but there are times I
have to separate one completely from the other.
CAREER HIGHLIGHT
Being selected by the American government to attend the International Visitors
Leadership program. It was wonderful. I met people, attended workshops and
grew tremendously.
PROFESSIONAL ADVICE
Learn to be fexible, work on your body and remember that less is more. Hard-
work, consistency and determination.
INTERVIEW: INNOCENT EKEJIUBA
PHOTO: COURTESY OF KEMI LALA AKINDOJU
Up Close and
Personal
with
Kemi
Lala
Akindoju
NOLLY POP QUIZ
BY INNOCENT EKEJIUBA
1. Which country has the
oldest movie industry in
Africa?
2. What does AMAA stand
for?
3. Which year was The
Gods Must be Crazy
produced?
4. Which African flm has
won an Academy Award
(Oscar)?
5. The actor who played
Richard Churchill in Half
of a Yellow Sun is from
which country?
6. List fve African flm
festivals.
7. Nollywood is to
Nigeria as Riverwood is to
which African country?
8. Who is the director of
Timbuktu?
9. What does AMVCA
stand for?
10. Who is the president
of the Actors Guild of
Nigeria?
R E V I E W S
Title: Half of a Yellow Sun
Genre: Feature flm
Director: Biyi Bandele
Year: 2014
Biyi Bandeles Half of A Yellow
Sun attempts to tell a love story
with the backdrop of the Biafran
war. I dont know whether it is
because we are watching the edited version in Nigeria but his adaptation of
the novel leaves me yearning for more more love, more war and more
emotion. It seems like some of the foreign actors came on set to look pretty,
recite lines and pack up their bags. The Nigerian cast fare better. The music,
set design and costume all score big points but dont make up for the
predictable screenplay and unexciting directing.
- ISABELLA AKINSEYE
Title: Finding Mercy
Genre: Trailer
Director: Desmond
Elliot
Year: 2013
Desmond Elliot is
no new kid on the
Nollywood block, so
when I came across
the trailer of his latest
effort Finding Mer-
cy, I expected a fairly
good job. Thankfully, I
was not disappointed.
The actor cum director
cum producer seems to
improving his craft by
the day and this is ev-
idenced in this Denziot production. From the open-
ing scene to the last credits, it is apparent that Elliot
understands the craft of good storytelling. There
is a good balance of dramatic scenes (yes, we have
kissing, crying, shouting, threatening and the likes)
as well as dialogue that moves the plot forward.
Every scene that appears in the barely two minutes
montage is there for a reason. We see all the major
characters (Desmond Elliot, Uti Nwachukwu, Rita
Dominic, Chioma Chukwuka-Akpotha, Tamara Etei-
mo, Dabota Lawson, Abiola Segun-Williams, Oyin-
damola Lanpejo and Blossom Chuks-Chukwujekwu)
in full action. We actually get an insight into their
characters and mannerisms in the few shots.
The sound is also properly mixed and you can actu-
ally hear the dialogue and background music. The
graphics are also well done and not too heavy on the
eyes. My only grouse with this trailer is that some
parts of it suffer from poor lighting; something which
I have realised is very common in Nollywood movies.
The ending of the trailer sums it up when Jato says,
She [Mercy] is my life and somehow, you just want
to believe him.
Verdict You would enjoy watching Finding Mercy if
you want a different storyline with tried and tested
actors alongside new fresh faces.
- ISABELLA AKINSEYE
Title: Sensitive Skin (1&2)
Genre: Documentary
Director: Wana Udobang
Year: 2014
Sensitive Skin explores primarily
the life and challenges of Gloria,
a patient of psoriasis and second-
arily, the documentary focuses
on the emotional challenges of
sensitive skin conditions. But
even when the documentary was seeking to be the voice of people living with
sensitive skin conditions, it fails to offer alternatives for the not-so-enlightened
and not-so-wealthy persons. This simply asks: Is the documentary fxated on
showing the life of a lady who is fortunate enough to manage her condition or
is it aimed at helping those emotionally destroyed by sensitive skin conditions
to rise stronger as the theme song Stronger preaches?
- INNOCENT EKEJIUBA
Title: Render to Caesar
Genre: Crime Thriller
Director: Desmond Ovbiagele
Year: 2014
The police is your friend rings
true in Desmond Ovbiageles
N100 million debut feature Ren-
der to Caesar. Caesar (Lucky Ejim)
is the enemy and the cops played
by Gbenga Akinnagbe and Wale
Ojo are on a mission to stop his havoc. Thankfully, the actors killed it (excuse
the pun). Filled with suspense, action, set pieces and one coincidence too
many, the movie shows promise for more Nollywood cop ficks. Unfortunately,
the colourist and special effects team are found wanting. So is the set design-
er of Vixens show. While there are translations for pidgin, none are given for
the French dialogue.
- ISABELLA AKINSEYE
Title: Verdict
Genre: Short Film
Director: Stanlee Ohikhuare
Year: 2014
As expected, Stanlee doesnt
fail to fully portray his message
with as less elements as possible.
Here, Stanlee gives an absurdist
treatment to the absurd explanation given by the US Army on the rape and
death of La Vena Johnson. However, this Oscar beftting short flm fails to
take into due consideration the primary audience. With near perfect acting
and directing, Stanlee might have just wasted resources on an issue that
holds little or no importance to his immediate community. Unless if his
immediate community is the Army of the United States of America. Aside
that, this is a masterpiece.
- INNOCENT EKEJIUBA
24
Title: Devil In The Detail
Genre: Feature Film
Director: Shirley Frimpong-Manso
Year: 2014
Synopsis
A happy marriage gets shaken to its roots when suspicions of inf-
delity sets in.
The Story
Latenight phone calls, smirks while texting a friend, roses showing
up at your door for your wife and lying about being at work. All
this were the signs Ben saw that led to the conclusion that his wife
Helen was cheating on him. The only problem is things dont al-
ways seem the way they look.
Devil In The Detail is a romantic drama written by one of Ghana
and Africas most recognized and outstanding female flmmakers
Shirley Frimpong-Manso. The movie tells a story we have seen
before with a brilliant twist in the end where the audience turn into
the script writers and we have to write our own
version of the movies ending. While some movie
goers felt the movie didnt have a closure, I be-
lieve it ended perfectly. Just like Kunle Afolayans
The Figurine and Christopher Nolans Inception,
its intention is to spur a debate and keep people
talking about the movie.
Right from the opening scene, sex was established
as the central device. As a matter of fact, I have
forgotten the number of sex scenes I saw in the
movie. But after a deep thought about the movie,
I understood that the sexual adventure and sat-
isfaction between two certain characters was the
reason the relationship continued and grew.
The movie dragged on a bit too long and some-
where in the middle, I was hoping things will
speed up and see how the movie ends.
The Directing
The directorial skills of Shirley Frimpong Manso couldnt be doubt-
ed. For a movie which I rate R and wouldnt recommend for people
below 18, there is hardly any nudity but she does a good job cre-
ating as much sexual explicity as possible with little or no clothes
off. But the glory of the movies technicality isnt the nudity (please,
I am not a pervert like that). The most impressive thing was the
sound design. There was hardly any background music used and
this was just perfect. And when there is music, its well-chosen and
placed.
The Acting
With a story which relied very much on some really important
emotions, this would have been a failure with the wrong cast. But
this was a well-chosen and enjoyable cast.
Ama Ampofo was annoying, believable, seductive and emotional
when all were demanded from her and she was splendid. Its hard
to believe this is her frst ever movie role. We will defnitely be see-
ing a lot more of her.
Adjety Anang also did a nice job but I felt he could have been more
fexible. He probably had only three facial expressions in the movie.
And lastly, Ntse Etim. Arguably the best actress in Nollywood right
now. Although this is not her best performance I have seen, (that I
think is Broken) but she was the best actor in the movie.
The Verdict
Devil In The Detail does a good job in entertaining
but when the debates are settled by fans, there
isnt much the movie leaves behind. While I did
enjoy the movie I feel the movie could have done
a better job with its originality.
- OLUMUYIWA AWOJIDE
25
Devil In The Detail does a good job in entertaining but
when the debates are settled by fans, there isnt much the
movie leaves behind.
R E V I E W S
26
Stage Vs Film?
Stage is my demanding frst wife my frst love,
always asking for more, for the best. Screen is
the attractive young girl, always drawing me
to its allure, to its glitz. I think the demands of
the stage come in handy when on screen. But I
think I love the camera.
Who are your role models?
For stage, it is Toyin Ogundeji, her performances
on many stages at the Obafemi Awolowo Uni-
versity were profound. For Nollywood, Ramsey
Nouah as acting comes naturally to him. In
Hollywood, Denzel Washington and Will Smith,
these two enter any character they are given.
Tell us about the inspiration behind your award-win-
ning documentary.
It pained me to see how people have failed to
realise the importance of the names they bear.
So, I decided to do something about it.
What was the response like?
Amazing. Requests for interviews, various plat-
forms shared the documentary and an email to
publish the poem in an anthology in Canada. An
opportunity to perform the play at the 30 Under
30 event in Ibadan. I was most honoured to see
the likes of Tunde Kelani approve of the work.
Any plans to go behind the cameras?
Yes. Recently I have been writing for stage as
well as screenplays for short flms. Earlier in the
year, my short story Waiting for a Lottery which
draws a lot on my many auditioning experienc-
es was adapted for stage for the Lagos Theatre
Festival. I am also considering directing in the
future because I love pictures.
If you could do it all over again, would you change
anything?
Obviously. I will love to change not following up
with my passion early enough just because the
society associates more with someone who has
a 9 to 5 job. I wasted some years hunting for
jobs that are solely meant for the connected.
What next do we expect from you this year?
First, watch out for the barman in Taste of Love.
I live by the day but try as much as possible
to see each passing day as a sacred one which
must not be misused.
Describe yourself in four words
Down-to-earth, creative, unassuming and car-
ing.
What does family mean to you?
Family is where I return toafter a tiring day on
set. My wifes warm embrace and my sons
disarming smile. For me, as one billboard reads:
Family is not everything, family is the only thing.
What is the best piece of advice you have received so
far?
A Nollywood director once told me,Dont put
all your eggs in one basket. If acting is not
working, try something else. I have tried many
other things which pay the bills because acting
alone hardly does. I am a farmer, a poet, an MC,
and voice-over artiste.
What was the last Nollywoods movie you watched?
The Meeting directed by Mildred Okwo.
INTERVIEW: OLUWAYOMI OLUSHOLA
PHOTO: COURTESY OF FEMI KAYODE
AMOGUNLA
INTERVIEW
26
TALENT ON THE RISE: FEMI KAYODE AMOGUNLA
When did you discover your love for acting?
I was in Primary 3 and I enjoyed being the only male pupil in a class of about
twenty girls. That came with its perks. Every social activity was designed to ac-
commodate me. So I found myself acting and dancing among these girls when-
ever we represented our class.
What formal training have you received so far?
It was in 2011 at the Royal Arts Academy, owned by one of Nollywoods fnest
producer, Emem Isong. That experience was a turning point for me as an actor,
especially when it came to acting for screen. It didnt end there as I now have var-
ious acting books that I read so well next to my Bible. I am still learning.
You graduated best student in your set at Royal Arts Academy, how did this impact on
your career?
That feat always reminds me there is nothing I cant achieve in this world of
make-believe. Being the best student came with loads of hard work. My expe-
rience there helped me to stay focused in an industry that can be quite discour-
aging especially when one is just setting out. I am eternally grateful to God and
everyone who supported me during that time, especially my wife.
Share with us some of your acting experience.
I am a member of a theatre troupe in Ibadan, the Dugbe International Enter-
tainment Troupe. We have stage performances every now and then. For screen,
getting my frst job came after about six months after I left Royal Arts Academy.
There was no audition that I knew of that I didnt attend. There were times that I
was close to landing good roles, then something would happen, and that would
just be the end. There have also been good times. I remember the frst job I did,
Blood in the Lagoon, a flm directed by Teco Benson. Being on set with Omotola
Jalade among others, do I say was overwhelming? Bensons manner of relating
with his actors, regardless of whether you are playing a major or minor role made
that experience worthwhile. Now, I am in the middle of the shooting of a soap
opera, Taste of Love. Each experience has been unique in its own way.
Any memorable experience on set?
Yes. This has to be on the set of Taste of Love. I had gone for the audition and
was dead sure from the look on the faces of the casting directors that I had done
so well. Along the line, there was a communication gap somewhere and I got a
call earlier than I should have, to come on set. We had recorded some scenes only
to be approached by one of the casting directors who asked me what I was do-
ing there. Apparently, as I would later fnd out, she thought the role I now played
wasnt the one I was penned down for. In her words, It was something better and
more engaging. Dont you remember this guy? She asked another colleague
of hers. At that point, I was happy to know that there are people who believe so
much in my acting. That was memorable. But as an actor too, I have come to real-
ise that no role is small or insignifcant because everything adds up eventually.
How do you memorise your lines?
Well, I dont memorise. I only internalise it and that comes with deep under-
standing of the script, of the character. No good actor memorises lines.
A day in the life of
Udoka Oyeka
My day typically starts around 6 am. I get ready quickly before
heading off to the Tinsel set. I play Tsav, a major supporting char-
acter on the series, which means that I shoot almost every day, for
at least half of the day. During down times on set, Im usually on
my phone answering emails and hustling to move my person-
al flm projects along. After the shoot, I try to squeeze some
workout before going to pick up my nephew from school. I
make sure that hes fed and relaxed into his own routine. In
the evenings, I often have meetings mostly concerning my
next projects. Finally I go home where, depending on the
mood, I surf the web, read or write. After dinner, I settle down
with a movie. I try to watch a movie every day, although
sometimes I can only keep my eyes open for a few minutes
before drifting off to sleep.
STORY: EBUNOLUWA MORDI
PHOTO: COURTESY OF UDOKA OYEKA
Berni Goldblat on a mission to
revive African cinema
BY ISABELLA AKINSEYE
The frst time I met Berni Goldblat, I remem-
ber him talking passionately about African
cinema in particular, Cin Guimbi. He gave
me a postcard of Cin Guimbi and made me
promise to keep in touch. A few months,
several emails, more discussions and an
interview later I can say without a shadow
of doubt that Mr. Goldblat is on a mission to
revive African cinema.
The self taught Swiss born flmmaker who
has made Burkina Faso home for over a
decade tells me about his love for Africa. I
arrived in Burkina Faso in 2001 to work on
a production that was supposed to last six
months and I ended up settling here. I like
the people; they are very welcoming. Plus
Burkina Faso is a cinema country and very
peaceful. Beyond Burkina Faso, he talks
about his love affair with Nigeria courtesy of
the AMAAs and the Anyiam-Osigwe family.
We are like one big family; the AMAAs and
Cin Guimbi. I share the dream of Peace
Anyiam-Osigwe who is working so hard
to promote and celebrate African cinema.
Working as a juror for AMAA has been a
very rewarding and positive experience.
Berni tells me that Cin Guimbi used to be
a very popular open air cinema that pulled
in crowds. It was always packed, people
came to watch Indian and Chinese flms, he
explains. However, in 2005, things went bust
but it was not just Cin Guimbi, many state
owned cinemas in Burkina Faso were also af-
fected. When the economy goes down, the
frst thing affected is culture. Its not just in
Africa, even Europe is affected. Cinemas are
being shut in eastern Europe. We have to do
something to preserve culture.
For a city like Bobo-Dioulasso, the number
two city in Burkina Faso and the former
capital, not to have a cinema was both un-
thinkable and unacceptable to Goldblat. It
started two years ago. My partner and I put
heads together to see what
we could do. All the for-
mer cinema buildings were
now occupied by business-
es, churches and mosques
except one Cin Guimbi.
Cin Guimbi formerly called
Rex and later named after
Princess Guimbi Outtara was
built a man named Tourre.
I fnd Cin Guimbi import-
ant and symbolic. It was the
frst cinema to be built by an
African in the region. It was
for the African audience.
After fnding the holy land
of cinema, the arduous task of fundraising
began.
For the frst six months, we travelled around
Europe and Africa to create awareness. Then
we started applying for funding and getting
institutions and individuals to support the
Cin Guimbi project in their own way. In De-
cember 2013, we paid over $150, 000 for the
land and even though, we do not have all
the money we need, we will begin construc-
tion of the small theatre next month, says
an excited Goldblat.
Jean Marc Lalo, a renowned architect who
specialises in cinema architecture has al-
ready visited Cin Guimbi twice. When
completed, the cinema complex which will
combine traditional African and contempo-
rary architecture will house two theatres
(one seating 324 and the other 156), a caf,
restaurant and a meeting space that can
seat 120 people. It would be more than a
cinema. Cin Guimbi will create a new
audiovisual culture. We want to create a
platform for people to be educated about
flm. We will have special rates to get every-
one back to the cinema including the mar-
ket women who sell fresh produce close to
the cinema. We want dreams to be born in
the Guimbi.
The Cin Guimbi is already attracting lots of
attention and support. Just a week ago, a
cinema in Montpelier donated 200 seats.
We hope to open the frst theatre by the
end of 2015. We want our investors to see
where their money is going to. A lot of
African countries are looking to us. If we
succeed, it will inspire them to revive the
cinema in their countries.
So when the cinema is fnally fnished?
Then what next? I ask. We are not waiting
till then. In October, we will be having the
Cin Guimbi Atellier, a six day forum with
experts and stakeholders to discuss and set
out a plan for the functioning of the cine-
ma. As the interview draws to an end, an
impassioned Goldblat waxes lyrical about
Nigeria and Nollywood. People across
Africa enjoy Nollywood movies. Even in
the Francophone countries, we watch them
whether or not they are dubbed in French.
When the Guimbi opens, we would partner
with Nollywood. Its not only in France and
Germany, we should have Nollywood week
across Africa.
Visit www.cineguimbi.foliokit.com
PHOTO: COURTESY OF BERNI GOLDBLAT
27
INTERVIEW
28
Yvonne Nelson premieres Single, Married and Complicated in Nigeria
Ghollywood actress and producer Yvonne Nelson premiered her flm Single, Married and Complicated at
the Silverbird Galleria in Lagos on 15 August 2014. The star studded event drew a host of celebrities as well
as members of the cast and crew. Rukky Sanda, Emem Isong, Ikay Ogbonna, Belinda Effah, Annie Idibia,
John Dumelo, Halima Abubakar and Alexx Ekubo joined Nelson as she showcased the sequel to her 2012
cinema blockbuster Single and Married to the Nigerian audience. Directed by the award winning Pascal
Amanfo, the movie stars Yvonne Nelson, John Dumelo, Alexx Ekubo, Chris Attoh, Tana Adelana, Anita
Erskine and Eddie Watson.
PHOTOS: Courtesy of Yvonne Nelson.
RED CARPET
Yvonne Nelson
Emem Isong Femi Jacobs Halima Abubakar Tana Adelana
John Dumelo Rukky Sanda Ikay Ogbonna and guest
30
INTERVIEW
Inspiration
Keith Shiri
2014 AFRIFF
Nigerian experience
Future of African cinema
Professional Background
Scholarly experience
Overview of African cinema
What got me working in African cinema was my experience grow-
ing up watching Hollywood movies and looking at the absence of
black faces. When they do exist, they are the baddies and not he-
roes. Cinema is such a powerful tool of propaganda and has been
used by countries like the US to promote its own brand. We need
to use cinema to start our own conversation and narrative. We still
have a lot of work to do but we need to contribute in our own way.
It is a new and developing flm festival. I hope it
continues and becomes one of the more signifcant
festivals. I like the vision not only from Cross River
Governor but also Chioma Ude. Its about creating
a major platform for African cinema from Algeria to
Zimbabwe. All of the continent needs to be celebrat-
ed. We have more flms submitted this year than last
year with flms coming from Ethiopia, Uganda and
African Diaspora, the West Indies. We are covering
much ground than we did last time. Ive been to
Durban and will be going Toronto to look at some
other flms I might have missed. We are also looking
for other collaborators. It is a continuous promo-
tion. Quite a number of people will be coming from
across the world.
Ive been coming to Nigeria for more than ten
years as an AMAA juror. I love the energy and the
anything is possible feeling. The opportunities
and possibilities are there. Nigeria is bigger than
Lagos. Its a vast country. I still need to explore
more and it is higher and bigger than what people
imagine. Theres still so much to learn.
Our dream is to try and make sure we reach the
level of other cinemas across the world. We want
African cinema to be viewed from its own perspec-
tive and not others. I want to see Africans refect its
own realities and to be confdent in telling its own
stories from its own point of view. This is a business
so we need quality flms that can cross our bound-
aries. We want flms that address the issues from
our continent. Cinema can be part of education at
all levels. An audiovisual culture is very important.
We hope for a sustainable sector something that
puts people back to work.
INTERVIEW: EBUNOLUWA MORDI
PHOTO: COURTESY OF KEITH SHIRI
Im an international curator for African cinema. I am the founder
and director of Africa at the Pictures and the London African Film
Festival and I have served as a jury on a number of festivals includ-
ing the Berlin International Film Festival, the Dubai International
Film Festival, Pan African Film Festival of Ouagadougou (FESPACO),
Tampere Film Festival and many others. I am also a trainer for the
ESODOC programme that offers workshops in documentary flm-
making. I am also the festival director for Africa International Film
Festival (AFRIFF).
I am a Visiting Research Fellow for Centre for Research and Educa-
tion in Arts and Media (CREAM) University of Westminster, London.
I compiled and edited the Directory of African Films and Film-
makers (Flicks Books 1993), Africa on Film (BBC Publications 1991)
Africa at the Pictures (British Film Institute 1991).
Africans have been making flm for many years. In terms of infra-
structure, it is always South Africa with its good distribution sys-
tem. Distribution is important because it looks after flmmakers
interest. SA has co-production treaties with a number of coun-
tries such as the UK, France, Germany, Italy, Canada and India to
mention a few. In terms of quantity, we have lots of flms coming
from Nigeria. We hope to see more emerging talents coming from
Nigeria. It serves its own audience which might not work in other
countries. In countries like Mali and Senegal, you have more of art
house cinema; one that sustain time with flms you will keep in the
library. Timbuktu has got a lot of people talking about very high
quality and aesthetics.
Our dream is to try and
make sure we reach the lev-
el of other cinemas across
the world. We want African
cinema to be viewed from
its own perspective and not
others. I want to see Afri-
cans refect its own realities
and to be confdent in telling
its own stories from its own
point of view.
31
How did you get into flmmaking?
Johnny Muteba
Founder, Kalahari international flm festival
For a long time, I knew that I had stories to tell. So, every time I
would watch flms, I always saw that some things were missing.
Sometimes, I saw that the way stories were told was not a true rep-
resentation of facts. I just took the camera that belonged to a friend
of mine and started making flms. My frst flm was titled Jesus in
Hillbrow.
What made you start the Kalahari international
flm festival?
Among other things, it is the frustration of not having many flm
festivals on the continent. It was mainly about broadening the scope,
because I know that when we have many flm festivals, it will become
much easier to promote locally made flms and give flmmakers like
myself many options. One of the reasons is also the fact that South
Africa is one of the most beautiful countries in the world and this
country is not really explored by people in and outside of it. There is
more to this country than Johannesburg and Cape Town with their
world class infrastructures and roads. There is a wild side to this
great nation. The Kalahari, being a desert has a very rich cultural
history of the frst inhabitants of this country who went through a lot
of trouble from colonialism to apartheid. They were dispossessed of
their land and their culture was interrupted in the process. Its about
sharing the same culture and heritage with the rest of the world.
We will be mainly promoting our festival in and out of the African
continent; making sure that the world knows about it so that when
we host it next year, it is well known.
INTERVIEW: OLUWAYOMI OLUSHOLA
PHOTO: COURTESY OF JOHNNY MUTEBA
So far, we have identifed the needs of the community because there
is more to the festival than us showcasing flms and the province of
the northern cape. It is also about us understanding the challeng-
es that the community of the northern cape is facing from teenage
pregnancy, to unemployment, to gender based violence and abuse
of the elderly and the youth. We have partnered with institutions
in the northern cape that will help us to make a difference and also
make sure that our festival continues to make a difference to the
people of the Kalahari in general and the northern cape in particular.
Plans are also at a very advanced stage for the setting up of a flm
academy in that province. This is part of our long term investment
in the province and it will make sure that the youth of the northern
cape will be educated about the art of flm and also, media literacy.
Joe Munga wa Tunda, Akin Omotoso and Adze Ugah. First
of all because I have watched the flms they have all made.
I have met them face to face as in the case of Omotoso and
Adze who stay in Johannesburg. So I always see them around
when they have made flms and I have become very used to
them. I have been following with interest the work ofOmo-
toso from his frst flm God is African to the most celebrated
flm Man on the Ground about a Mozambican migrant who
was burnt in Johannesburg during the xenophobic attacks
that saw more than 67 people killed. He was also on televi-
sion and his company T.O.M. Pictures has made a very big
contribution to television and flm not only in South Africa
but Africa at large. Adze, for me, is a very dynamic director
who has also worked on many local TV productions and I also
watched his frst feature flm Gog Helen. I have spoken with
him a couple of times at various flm workshops and I fnd
him very approachable and a humble human being. Munga
wa Tunda made a great flm titled Viva Riva. For me, it is their
approach to flmmaking and their professionalism that makes
them my favourites.
What can we expect this year?
What progress has been made so far?
Who are your favourite African flmmakers?
When will the festival be taking place?
How can people get involved in the project?
What are your hopes for African cinema?
Beyond the flm festival, what next can we expect
from Johnny?
The festival will be taking place in the frst quarter of 2015, April to
be specifc.
People can get involved in the project in so many ways, from sub-
mitting their flms to be screened at the Kalahari international flm
festival, to donating old computers that we can give for educational
purposes, to helping us market the festival in different parts of the
world and also, by becoming patrons or friends of the Kalahari inter-
national flm festival.
My hope for the African cinema is that we give young people
and women a chance to be seen and heard. Our industry has
not really given women a voice. We should also make many
pan African collaborations. I would like to see flmmakers
from Africa collaborate with each other and make flms in
every city of this beautiful continent of ours. I want to see
a flm that begins production in Lagos and completes it in
Johannesburg or Cape town or Harare in Zimbabwe. We have
not yet started telling our storie. We need to encourage the
new generation of flmmakers to be proud of our identity.
There is no place like home and home is where the heart is;
that home is Africa.
A political thriller that starts production at the end of the year in
Johannesburg and will be due for international release in May 2015.
One or two TV series and one reality TV show. I also really want to
open a pan African flm academy in South Africa. The space is ready
for the flm school in Joburg. Were now looking for investors.
I know that when we have many
flm festivals, it will become much
easier to promote locally made
flms and give flmmakers like
myself many options.
INTERVIEW

5 leading African movie industries
BY INNOCENT EKEJIUBA
32
Nigeria Movie Industry
(Nollywood)
The Nigerian movie
industry became known
as Nollywood in the
early 1990s with Living
in Bondage being one
of the early Nollywood
movies. This however
is not the birth of flm-
making in Nigeria as the
Nigerian movie industry
dates as far back as the
early 1960s when televi-
sions came and hence,
provided a platform for
the likes of Ola Balogun
and Hubert Ogunde
to take their art to the
screen. The industry has
since expanded in great
proportions making it
the leading industry in
Africa. In 2009, UNESCO
announced that Nolly-
wood was second only to
Bollywood in movie pro-
duction by quantity. With
the emergence of New
Nollywood, the issue of
quality is being gradual-
ly fxed. As at 2014, the
Nigerian flm industry is
worth 853.9 billion Naira
(US$5.1 billion) with Blue
Pictures (50.0%), Silver-
bird (20.0%) and Ossy
Affason (10.0%) leading
in the battle of movie
distribution.
Egypt Movie Industry
Though Egyptian movies
are basically in Arabic,
it has not stopped the
oldest flm industry in
Africa from fourishing.
The Egyptian movie
industry dates as far
back as 1896 when silent
flms were made and
fourished through the
years with notable men-
tions in 1907 when the
frst short documentary
flm was shot and 1927
when Layla, the frst full-
length Egyptian movie
was made. The Egyptian
movie industry has not
been without problems
due to poor production
values lacking in con-
tent. This period lasted
from the late 1970s
to 1997 when Ismailia
Rayeh Gayy was released
and heralded the pres-
ent age of the industry.
Currently, the Egyptian
movie industry boasts
of both highly artistic
movies which have low
viewership and popular
comedies. The industry
currently churns out an
average of 42 movies a
year after plummeting
from 100 movies per
year to 12 during the
transitional period.
Kenya Movie Industry
The Kenyan movie in-
dustry might have come
of age in the 2nd mil-
lennium, but its journey
started some 50 years
before the turn of the
millennium. The industry
might not be able to lay
claim to being the big-
gest or highest grossing,
but it can lay claim to a
rich history dating back
to Men Against the Sun
that was shot in 1952.
Since then, the industry
has enjoyed moderate
success and with the
recent infow of govern-
ment funding in 2006,
the industry has been
able to diversify; making
educational flms and
hosting flm festivals.
Riverwood as it is pop-
ularly known is mildly
successful internationally
with the twelve-minute
short flm Kibera Kid
being arguably the most
successful Riverwood
production. The fctional
short flm received sev-
en international awards
and was also accolad-
ed a Student EMMY in
Hollywood, while receiv-
ing attention at various
flm festivals worldwide
including the Berlin Film
Festival.
Ghana Movie Industry
(Ghallywood/Gollywood)
Escaping the shadows
of the Nigerian movie
industry has proven to
be diffcult, but the Gha-
naian movie industry is
proving to be up to the
challenge. The thriving
flm industry otherwise
known as Ghallywood
or Gollywood dates
back to the Gold Coast
days of 1940s though
the frst Ghanaian flm
to receive internation-
al acknowledgement
was the 1970 flm I Told
You So. Ghallywood has
recently cashed in on the
ever-growing partnership
it has with the Nigerian
movie industry, by pro-
ducing large quantity
of movies yearly. The
industry is also known
for exporting stars with
the likes of Nadia Bu-
hari, Majid Michael,
Van Vicker and Yvonne
Nelson leading the list
of exports who have
been integrated with the
Nigerian movie industry
while Boris Kodjoe is the
countrys international
contribution to the mov-
ie world. Cobra Verde of
1988 still stands as the
most internationally rec-
ognised Ghanaian flm.
South Africa Movie
Industry
The South African movie
industry is the second
oldest flm industry in
Africa with Killarney Film
Studios, being estab-
lished in 1915 in Johan-
nesburg. Since then,
South Africa has dutifully
produced international
standard flms and even
has Oscar nominations
and awards to show for
it. The industry is how-
ever notoriously known
for racial movies that
were politicaly targeted
at ending the apartheid
that tore the country
apart in the past. Yet
flms like The Gods Must
Be Crazy proved to be
exceptions as they are
more comical than po-
litical. The South Afri-
can movie industry is
arguably Africas biggest
exporter of comedy with
Leon Schuster taking up
the reins and continuing
from where Jamie Uys
might have stopped.
From the silent era of
flmmaking to the sound
era, Nu Metro, Ster Kine-
kor, United International
Pictures and Next Enter-
tainment come out as
the top flm distributors.
October 1 set to open 2014 edition of Lights, Camera,
Africa!!! flm festival
October 1 (2014), Kunle Afolayans period piece has been selected
as the opening flm for the fourth edition of Lights, Camera, Afri-
ca!!! flm festival which will kick off on 26 September 2014 and end
on Nigerias Independence Day, October 1. Curated around the
theme of Legacy, flms such as Oya, the Rise of the Orisha (2014)
andThe Supreme Price (2014) will also be screened. Touted as Ni-
gerias only festival dedicated to independent African flm, a total
of 30 movies from over 20 countries will be shown at the Federal
Palace Hotel, Victoria Island, Lagos.
According to the organisers, This edition also stands out for its
emphasis on television and the role it has played documenting our
journey. Meanwhile, it stays true to the festivals tradition by includ-
ing free flm workshops, hosting a colorful market of African crafts
and gift items, live music, and a bevy of thrilling performances.
Lights, Camera, Africa!!! flm festival is a not-for-proft project of
The Life House. The 2014 edition is in partnership with African Film
Festival Inc (New York), Nadia Denton, Royal African Society (Lon-
don), British Council, and Federal Palace Hotel & Casino. The festi-
val is supported by The Ford Foundation, Alliance Francaise, French
Consulate, The Dutch Embassy, Goethe Institut, Smooth 98.1FM,
The Moorhouse, Radi8, YNaija, Woodstock Electronics, VAN Lagos,
YAP&E and Zircon Marine.
- OLUWAYOMI OLUSHOLA
33
FESTIVAL NEWS
REVIEWS
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ARTICLES
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PICTURES
INTERVIEWS
.
LISTINGS
.
NEWS
COMPETITIONS
.
FEATURES
CARTOON
.
CELBERATIONS
NOLLYWOOD
Read Nolly Silver Screen magaine
www.nollysilverscreen.com
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A Silent Cry (Ekun Asunsinu) from the stables ofTitan productions has been slated for theatrical release on 5 Sep-
tember 2014 and will be showing in FilmHouse cinemas. A unique and intricately crafted story, delivered with
dexterity by the fnest of thespians in the Yoruba movie industry, the movie stars Adebayo Salami, Toyin Aimak-
hu Johnson, Dayo Amusa, Yinka Quadri, Antar Laniyan, and Ayo Adesanya. Directed by Desmond Elliot, the story
revolves around Tomiwa (Toyin Aimakhu), a young lady from a comfortable home, who falls into the deceptive net
of her lover. Having committed an act termed as unforgivable by her father, she is thrown
into the sea of loneliness and battles with the waves of indecision, betrayal and dark
secrets that threaten her very existence and the unity of her family.
Omoni Obolis directorial debut production Being Mrs Elliott will play to cinema audienc-
es in Nigeria starting from 5 September 2014. The movie which has been nominated for
several awards revolves around two women who in a simple twist of fate, fnd their
worlds colliding with each other. Their lives are turned upside down as they meet two
men, who are on a different path in life until unusual circumstances bring the women
into their lives. In a maze of deception, lust, pain, jealousy and intrigues, their lives are rearranged in ways that
they did not foresee as they try to make sense of fnding love in unusual places. The movie stars Omoni Oboli,
Majid Michel, Ayo Makun, Lepacious Bose, Seun Akindele and many others.
Produced by Okey Ezugwu and directed by Ikechukwu Onyeka, Brothers Keeper features Omoni Oboli, Majid Mi-
chel, Beverly Naya and Barbara Soki. The movie revolves around a couple whose marriage is threatened when the
husbands twin brother dies and he starts acting cold and aloof which is the exact opposite of the loving man he
was. Meanwhile his wife suspects that her husband is cheating with her late brother in laws wife and her attempts
at digging into this exposes a whole web of deceit and betrayal and circumstances surrounding her brother in
laws death.
34

IN FILMHOUSE CINEMAS THIS SEPTEMBER

OUT ON DVD
LISTINGS
35
EVENTS
Chigozie Atuanya and Prof Paul Oranika
Chigozie Atuanya and some guests
Chief Hyacinth Nwachukwu
Faces at American premiere of Igbo language flm Chetanna
South African guests
Cross section of the audience
Attorney Emeka Akudinobi
38
AWARD NEWS
AfricaMagic, in association with MultiChoice and proud sponsors Am-
stel Malta, is announcing the call to entry for the 2015 edition of the
AfricaMagic Viewers Choice Awards (AMVCAs), the prestigious initia-
tive that honours flm and TV talent across the continent. A special an-
nouncement will be screened on all AfricaMagic channels on Wednesday,
3 September at 20:00 CAT, when entry for the awards will be offcially
opened.
The AMVCAs were created to celebrate the contribution of African flm-
makers, actors and technicians in the success of the continents flm and
television industry and with the success of the 2013 and 2014 editions,
preparations are in top gear for the 2015 edition.
Wangi Mba-Uzoukwu, Regional Director for M-Net (West), said: We are pleased to announce the call to entry for the 2015 AfricaMagic
Viewers Choice Awards. The African movie and television industry is brimming with exciting talent, and at Africa Magic we contribute to
the industry by not only giving these talents the platform to showcase their art and celebrating their achievements, we also encourage
them to keep honing their craft.
This year, a number of awards in different categories will be presented ranging from acting and directing to scriptwriting and cinema-
tography. Other categories will include: editing, make-up, sound, and lighting amongst others.
John Ugbe, Managing Director, MultiChoice Nigeria, expressed his delight at the growing success of the AfricaMagic Viewers Choice
Awards, saying: There have been two editions of the AMVCAs and so far, the improvement that this award has brought to African flm
production cannot be ignored. For us as MultiChoice, the success of these awards further showcases our commitment to recognising
the amazing skills that exist in this ever-growing industry. Furthermore, our continued investment demonstrates our dedication in help-
ing unearth and celebrate talent in the whole continent. I have much confdence that the next edition in 2015 will leave an even bigger
impact on the African flm production industry than the previous two.
Also expressing her excitement for being part
of the AMVCAs, Brand Manager, Amstel Malta,
Miss Hannatu Ageni-Yusuf said: As the num-
ber one premium Malt brand in Nigeria, Amstel
Malta is again pleased to be part of this years
AfricaMagic Viewers Choice Awards. It is truly a
unique platform which aligns perfectly with the
brands essence, encouraging and also reward-
ing young ambitious Africans. Last year on this
platform, Amstel Malta launched its new cam-
paign, tagged the journey. This year, the brand
is set to allow consumers to witness the joys of
being focused on their goals and even beating
their best, while on their journey to success.
The frst edition of the AfricaMagic Viewers
Choice Awards ceremony took place in Lagos in
March, 2013, and was broadcast live to DStv and
GOtv audiences across the continent. The event
drew big names from across the continents TV
and flm industry and saw the Best Actor and
Best Actress in a Drama awards going to Nigeri-
an OC Ukeje and Ghanaian Jackie Appiah, in the
respective categories.
In the 2014 edition, multi-award winning actress,
Nse Ikpe-Etim, took home the award for Best
Actress in a Drama while Ghanaian flm produc-
er/director, Shirley Frimpong-Mansos movie The
Contract won in several categories. The 2014
AMVCAs also saw renowned flm and TV veter-
an, Pete Edochie, clinching the prestigious life-
time achievement award.
Entry for the AMVCAs is free and the closing
date for submissions is the 31 October, 2014.
Entries should be sent to: AfricaMagic Viewers
Choice Awards, PO Box 2963, Pinegowrie, 2123,
South Africa, with attention to the Manager,
Local Productions Africa. They can also log on
to www.africamagic.tv for more details on the
submission procedure and requirements.
Source: www.dstv.com
AMVCAs return for a third edition