THE 78TH FESTIVAL DE CANNES WINNERS’ LIST:The Jury of the 78th Festival de Cannes, chaired by French actress Juliette Binoche, surrounded by American actress and filmmaker Halle Berry, Indian director and screenwriter Payal Kapadia, Italian actress Alba Rohrwacher, French-Moroccan writer Leïla Slimani, Congolese director, documentarist and Continue reading THE 78TH FESTIVAL DE CANNES WINNERS’ LIST→
The 77th Festival de Cannes is open!:“You may not be aware of this, but you are about to enter a parallel universe called the Cannes Vortex.” Camille Cottin was already on stage at the Grand Théâtre Lumière when lights went on for this 77th edition of Continue reading The 77th Festival de Cannes is open!→
IGUAZU WATERFALLS AND THE MOVIE BLACK PANTHER:The gorgeous Iguazu Falls, located at the Argentina-Brazil border. Coupled with the brilliance of Marvel Studios, the gigantic waterfall makes the place a worthy backdrop for such a grand superhero film Was the waterfall in Black Panther real? Footage for Continue reading IGUAZU WATERFALLS AND THE MOVIE BLACK PANTHER→
ETHNIC BIGOTRY & XENOPHOBIA AGAINST THE IGBOS IN NIGERIA:*The crime of that tribe must be so great.* In 1966: Nearly 1,000,000 of them was massacred in the North as revenge killings for a coup that was plotted by a young man that bears their name but had never Continue reading ETHNIC BIGOTRY & XENOPHOBIA AGAINST THE IGBOS IN NIGERIA→
CANON/EKO INTERNATIONAL FILM FESTIVAL 2022 FILM INDUSTRY WORKSHOP:
The story of
Nollywood is deeply connected to the journey of Nigerian theatre practitioners
who brought their discipline, experience, and storytelling traditions into the
growth of the film industry.
Dr. Sam Uche
Anyamele represents this important connection between theatre, film, leadership,
and creative development.
A
distinguished thespian, filmmaker, cultural ambassador, and creative
professional, Dr. Anyamele has built a career across performance, production,
mentorship, and industry leadership.
A Fellow of
Theatre Arts and a member of the National Association of Nigerian Theatre Arts
Practitioners (NANTAP), he has contributed to the creative sector through
numerous productions as both cast and crew member, while also supporting the
growth of practitioners through leadership and knowledge sharing.
With a Ph.D.
in Business Education from the University of Lagos, he combines creative
practice with academic and organisational development. As the CEO of SUA-Global
Infinity Concepts, he continues to contribute to the creative economy through
different engagements.His screen credits include productions such as Super
Story, About To Wed, Kill The Bride, Aki & Pawpaw, The Bling Lagosians 2,
and other projects that reflect his versatility within the entertainment
industry.
Beyond
performance, Dr. Anyamele is recognised for his roles as a corporate compere,
facilitator, panel moderator, juror, public speaker, and a motivational speaker — using his experience
to inspire and support the creative community.
His
professional journey has earned recognition including AMAA-related recognition,
Copyright X certification from Harvard University, USA, and the prestigious
Fellow of Theatre Arts recognition by NANTAP.The Nollywood Compendium continues
to document the people, institutions, and creative forces whose journeys have
shaped Nigeria’s entertainment industry.
The stories
being highlighted on Nollywood Central are part of a wider documentation effort
— preserving the contributions of those who have helped build the creative
ecosystem.
Because
Nollywood is not only about the films we watch, but also about the people who
dedicate their lives to creating, supporting, and advancing the industry.
On the left is Professor Chinua Achebe, dubbed the father of African literature. He is the author of Things Fall Apart which stands as the most translated and read African work.
On the right is Professor Nwando Achebe. She is a renowned historian and also founding editor-in-chief of the Journal of West African History. She has just been promoted to the rank of distinguished Professor at Michigan State University, US.
1. Increased
brand visibility: Partnering with events or organizations can boost your
brand’s recognition and reach a larger audience.
2. Targeted audience
engagement: Sponsorship allows you to connect with a specific audience relevant
to your industry or niche.
3.
Networking opportunities: Sponsorship can provide valuable connections with
industry professionals, potential clients, or partners.
4. Brand
association: Partnering with reputable events or organizations can enhance your
brand’s credibility and reputation.
5. Marketing
and advertising opportunities: Sponsorship includes promotional opportunities,
such as logo placement, social media mentions, and event programs.
In the
context of the Universal Movie Awards, sponsorship benefits include:
– Prominent
logo display on event promotional materials
– Social
media recognition and shoutouts
– VIP access
to the event
–
Opportunities for product placement or brand integration
– Networking
with industry professionals and potential clients
6. Workshop
and training in various film production
-Script
writing, directing, cinematography, production etc which will empower our youth
to develop their skills and create more job opportunities, bringing brand
loyalty to your organization.
‘Film as Cultural Diplomacy’ Being Paper by The Executive Director/CEO of the National Film and Video Censors Board (Nfvcb)Dr. Shaibu Husseini Presented At the Film Summit Event of the 16th Eko International Film Festival Held On May 25, 2026 in Ikeja Lagos
I am deeply honored to be part of the 16th edition
of the Eko International Film Festival and to speak on a subject that has
become increasingly important in today’s interconnected world: Film and
Cultural Diplomacy.
Before I proceed, permit me to specially commend the
organizers of the Eko International Film Festival for sustaining this important
cultural platform over the years. In particular, I must recognize the Convener,
Hope Obioma Opara, for his doggedness, resilience, tenacity, and unwavering
passion for the growth of cinema and cultural engagement in Nigeria. To sustain
a film festival for sixteen editions, especially within the challenging
realities of our environment and often with limited institutional support, is
no small achievement. It requires vision, sacrifice, consistency, and an
enduring belief in the power of film as a tool for cultural expression and national
development.
Ekoiff Presdent / Founder Hope Opara with Dr. Shaibu Husseini CEO NFVCB and Patrick Lee Operation Manager Viva Cinemas
The continued existence and relevance of this
festival stand as a testament to his commitment to the creative industry and to
providing a platform where filmmakers, storytellers, scholars, diplomats, and
cultural practitioners can converge to exchange ideas and celebrate cinematic excellence.
People like Hope Obioma Opara remind us that the growth of the creative
industry is often driven first by passion before profit, by conviction before recognition,
and by persistence before applause. I therefore congratulate him and the entire
organising team for keeping this vision alive and for contributing meaningfully
to Nigeria’s cultural and cinematic landscape.
Permit me to begin with a simple but profound truth
and that is the fact that nations are no longer known only by their military
strength or economic power but they are now increasingly known by their
stories.
A discussion about film will not be complete without
looking at the different dimensions of films. For me, film is more than
entertainment. Film is memory, its identity, its ideology, a tool for
persuasion and a veritable tool for diplomacy. Before diplomats arrive in a
country, films from that country may already have shaped perceptions about its
people, culture, values, language, politics, and aspirations. You will agree
with me, that it was Hollywood that defined America.
We can easily argue that Bollywood shaped perceptions
of India, whilst the popular Korean cinema and K-Drama transformed global
attitudes toward South Korea. We are increasingly witnessing how Nollywood is
shaping how Africa — and particularly Nigeria — is perceived globally. This is
the power of cultural diplomacy.
Therefore, I will conceive CULTURAL DIPLOMACY as
referring to the use of culture, arts, and creative expression to foster mutual
understanding between nations and peoples. And film has become one of its most
effective instruments because it combines image, sound, emotion, language,
fashion, music, history, and storytelling into one compelling medium.
Let’s briefly examine the powers that film
possesses. First is that film humanizes people. A good film produced with the
right dose of emotions allows audiences to see the humanity of people from
cultures different from theirs. It breaks stereotypes and builds empathy. For
example, films from the Middle East shown in Western countries have helped audiences
better understand the realities of war, displacement, family, and identity
beyond what is seen in news headlines.
In the same vein, Nigerian films have introduced
global audiences to our resilience as a people, our family value, our
spirituality, our music and very strong entrepreneurial spirit.
The second power of film is the power it has to
shapes national image. A nation whose films consistently portray creativity,
discipline, innovation, and humanity gains cultural influence globally. Whether
we agree or not, film contributes heavily to national branding.
Many people who have never visited America, France,
China, India or Nigeria already have mental images of these countries because
of the films from the countries mentioned. Today, South Korea is a leading
example. Through strategic government support for film, music, and television,
Korean culture has become a global force. The success of Korean cinema has
boosted their tourism, exports, fashion and international prestige. This is
what scholars call soft power — the ability of a country to attract and
influence others not through force, but through culture and ideas. Film therefore
becomes diplomacy while our filmmakers are unofficial cultural ambassadors.
The third power of film is in its ability to
encourage dialogue and cooperation. Through film festivals, co-productions and
international collaborations, film has created spaces where nations through
their filmmakers engage peacefully through creativity. I know of a Kenyan
filmmaker Vincho who collaborated with a Nigerian filmmaker on an international
project that premiered at Venice. Between them, cultures interact and ideas are
exchanged. Here, film is not just an artistic enterprise but a bridge between
people and nations. That is why film festivals such as the Eko International
Film Festival are extremely important. They are not merely entertainment
events; they are platforms of international cultural engagement.
Now let talks about government and cultural
diplomacy. Since we have established that film is a diplomatic asset, it is
given that government must treat the creative industry as a strategic national
institution. Each time I have an opportunity to speak on or around this topic,
I have always maintained that government has at least five major responsibilities
in using film for cultural diplomacy.
The first and MAJOR responsibility is the CREATION OF
ENABLING POLICIES. Countries that dominate global cultural influence did not
achieve it accidentally. There was deliberate policy support. For films to
succeed as a cultural diplomacy tool, government must establish supportive
policies including policies that support funding structures, tax incentives,
copyright protection and distribution. Government must also establish modern
regulatory systems.
Indeed, government must continue to strengthen
policies that make filmmaking easier, safer, more profitable, and globally
competitive. At the National Film and Video Censors Board, we are working
toward making content classification more accessible, technology-driven,
transparent, and industry-friendly because regulation should not be seen as an
obstacle, but as part of industry growth and international credibility.
The second responsibility is for government to PROTECT
NATIONAL IDENTITY. Nigeria’s diversity is one of its greatest cultural assets.
Our films should reflect our creativity, our plurality, our creativity and our
aspiration. Therefore, as foreign content floods digital platforms and governments
must ensure that local culture is not erased or misrepresented. Government must
ensure that films preserve indigenous languages, cultural heritage, traditional
values and historical memory. This does not mean censorship in the negative
sense. It means cultural responsibility. If we do not tell our stories
ourselves, others may tell them inaccurately for us.
The third responsibility is for government to
SUPPORT INTERNATIONAL FILM ENGAGEMENT through their agencies including embassies
and cultural missions. These agencies should make film tours, film festivals,
cultural exchanges, and international screenings should form part of national
diplomacy. The point we make here is that government must activate
co-production treaties and fund participation in global festivals. The fact is
that every Nigerian film exhibited abroad contributes to tourism, investment interest,
cultural curiosity, and international visibility.
Lastly, government must see film as ECONOMIC DIPLOMACY.
Globally, the creative economy contributes billions of dollars and millions of
jobs. Film, a major component of the creative economy is no longer a side
industry. It is one component of the creative industry that should be
integrated into national development planning. Nollywood should be
strategically supported to thrive so that it can attract foreign investment,
continue to create employment, stimulate tourism, enhance export earnings and
strengthen national prestige.
ED NFVCB and His team
As I conclude, I must observe that cultural
diplomacy is no longer controlled only by governments. Filmmakers themselves
have become global actors in the cultural diplomacy ecosystem. Technology has
also changed everything. With technology, films streamed in Lagos can be
watched in several countries around the world. A young Nigerian filmmaker with
a camera and internet access can shape global perceptions about Nigeria more
effectively than many official campaigns.
I know I have already highlighted the task before
government which include support for the industry and the positioning of film
as a strategic national asset, I will charge filmmaker in their place as major
actors in the cultural diplomacy space to tell stories that are authentic,
excellent, culturally grounded, and globally resonant. Filmmakers must continue
to build an industry that does not merely entertain the world, but meaningfully
represents who we are as a people, because ultimately, cultural diplomacy is
not only about how the world sees us, but it is also about how confidently we
see ourselves. Our stories must therefore not merely seek international applause;
they must preserve truth, dignity, and cultural integrity.
I thank you all for your attention.
Dr. Shaibu Husseini PhD Director/CEO National Film and Video Censors Board (Nfvcb)
I was at my home town when the viral videos of the Ozoro incident came in. Delta State is not known to be this violent.
To the men of Ozoro hiding behind “tradition” to strip and rape young girls and women, tueh! Karma is a bitch. When she comes, hope there would be Rights activist standing by you.
These boys/men are not traditionalists; they are vultures who must be completely abolished.
OUR DEMANDS:
1.AN IMMEDIATE BAN on any festival rite that endangers women and girls.
2.ARREST & PROSECUTION of every perpetrator identified in these files.
3.AN END to using “culture” as a shield for sexual violence.
We are documenting. We are watching. The era of the vultures is over.
The Jury of the 78th Festival de Cannes, chaired by French actress Juliette Binoche, surrounded by American actress and filmmaker Halle Berry, Indian director and screenwriter Payal Kapadia, Italian actress Alba Rohrwacher, French-Moroccan writer Leïla Slimani, Congolese director, documentarist and producer Dieudo Hamadi, Korean director and screenwriter Hong Sangsoo, Mexican director, screenwriter and producer Carlos Reygadas and American actor Jeremy Strong, presented its winners’ list among the 22 films presented in Competition this year.
Feature Films
Palme d’or
UN SIMPLE ACCIDENT
Jafar PANAHI
Grand Prix
AFFEKSJONSVERDI
(SENTIMENTAL VALUE)
Joachim TRIER
Joint Jury Prize
SIRÂT
Oliver LAXE
SOUND OF FALLING
Mascha SCHILINSKI
Best Director
Kleber MENDONÇA FILHO for O AGENTE SECRETO (THE SECRET AGENT)
Best Screenplay
Jean-Pierre DARDENNE & Luc DARDENNE for JEUNES MÈRES
Best performance by an actress
Nadia MELLITI inLA PETITE DERNIÈRE directed by Hafsia HERZI
Best performance by an actor
Wagner MOURA in O AGENTE SECRETO (THE SECRET AGENT) directed by Kleber MENDONÇA FILHO
Special Award
KUANG YE SHI DAI (RESURRECTION)
Bi GAN
Short Films
Palme d’or
I’M GLAD YOU’RE DEAD NOW
Tawfeek BARHOM
Special Mention
ALI
Adnan AL RAJEEV
Un Certain Regard
Un Certain Regard Prize
LA MISTERIOSA MIRADA DEL FLAMENCO (THE MYSTERIOUS GAZE OF THE FLAMINGO)
