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:
Love is one of the most powerful emotions known to
humanity. It can inspire courage, bring people together, heal wounds, and give
meaning to the simplest moments of life. Yet, despite our attempts to
understand and control it, love often seems to have a mind of its own. It
arrives unexpectedly, grows in ways we cannot explain, and sometimes leads us
down paths we never planned to take.
We may choose our friends, our careers, and even
where we want to live, but love does not always follow our plans. A person can
enter our lives at the most unexpected time and awaken feelings we never knew
existed. Sometimes, the heart recognizes a connection before the mind can
understand it. This is why people often say, “I don’t know why I love this
person; I simply do.”
Love has a strange ability to ignore barriers.
Differences in background, distance, age, culture, or personality may seem
important to the mind, but genuine affection can make those differences appear
less significant. Love encourages people to look beyond appearances and
discover the person behind the surface. It teaches us that connection is not
always based on perfection but on understanding, acceptance, and emotional
closeness.
However, love having a mind of its own does not mean
that every feeling should be followed blindly. The heart may lead us toward
someone, but wisdom must help us decide whether the relationship is healthy and
worth pursuing. True love should not destroy our dignity, peace, or sense of
self. It should challenge us to become better people while allowing both
individuals to grow.
Sometimes love also has a painful side. We can love
someone deeply and still discover that the relationship cannot work. We may
hold on to memories long after a person has left our lives. We may wish to stop
loving, yet the heart takes its own time to let go. This is another reason love
seems to have a mind of its own: we cannot simply command our feelings to
disappear.
Love can also surprise us by returning when we least
expect it. Someone we once thought we had forgotten may suddenly cross our path
again, or a friendship may slowly develop into something deeper. What begins as
an ordinary conversation can become a lifelong bond. In such moments, we
realize that some of life’s most meaningful experiences cannot be completely
planned.
Ultimately, love is both a mystery and a
responsibility. It may begin without permission, but maintaining it requires
conscious choices—honesty, patience, trust, forgiveness, communication, and
commitment. Love may have a mind of its own, but we have a responsibility to
guide it with wisdom.
Perhaps that is what makes love so beautiful. It
reminds us that life cannot always be controlled or predicted. Sometimes the
heart takes us where the mind never imagined going. And when love is genuine,
respectful, and mutual, that unexpected journey can become one of the greatest
experiences of our lives.
Love has a mind of its own because the heart often knows what the mind is still trying to understand.
Dolly Parton died on August 25, 2026, at the age of 80 in Nashville, Tennessee, following a brief battle with cancer
Dolly Parton
is an American singer, songwriter, actress, businesswoman, and philanthropist
whose career has lasted more than six decades.
Early life:
Dolly Rebecca Parton was born on January 19, 1946, in Locust Ridge in the Great
Smoky Mountains of Tennessee. She was the fourth of 12 children and grew up in
a poor family in rural Appalachia. Music was central to her childhood,
especially church and traditional songs. By age 10 she was performing on local
radio and television, and at 13 she appeared at the Grand Ole Opry. After
graduating from high school in 1964, she moved to Nashville to pursue music
professionally.
Rise to
fame: Her major breakthrough came in 1967, when she joined The Porter Wagoner
Show. She became a successful duet partner with Wagoner while building her own
solo career. In the early 1970s she produced classics including “Coat of
Many Colors,” “Jolene,” and “I Will Always Love You.”
The latter was originally written as a farewell to Wagoner when she decided to
pursue her career independently.
Movies and
wider fame: Parton successfully crossed from country into pop music and
Hollywood. She starred with Jane Fonda and Lily Tomlin in the 1980 film 9 to 5
and wrote its famous title song. In 1992, Whitney Houston’s recording of
Parton’s “I Will Always Love You” became an enormous international
pop hit.
Business and
philanthropy: Parton became closely associated with Dollywood, the Tennessee
theme park that helped expand tourism and employment in her home region. In
1995, she created Dolly Parton’s Imagination Library, inspired partly by her
father’s inability to read and write. The program mails free books to young
children and has grown internationally, distributing hundreds of millions of
books.
Legacy: Parton was inducted into the Country Music Hall of Fame in 1999 and the Rock & Roll Hall of Fame in 2022, and has received major honors including Grammy Awards, the Kennedy Center Honors, and the National Medal of Arts. Her life is often described as a “rags-to-rhinestones” journey—from poverty in the Tennessee Mountains to becoming one of the world’s most recognizable entertainers..
Dr. Sam Uche Anyamele A thespian, Filmmaker and
Creative Leader Bridging Theater and Nollywood
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 organizational
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 recognized 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.
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.
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.
