The African International Film Festival (AFRIFF) has earned its place as one of the continent’s most anticipated cinematic events. An annual event for filmmakers, critics, and cinephiles eager to celebrate African storytelling. This year’s edition, which was held from 2 to 8 November 2025 in Lagos, was expected to further cement AFRIFF’s legacy as a platform that nurtures new voices while spotlighting established ones, especially as this year marks 14 years since the festival began.
Significant Shortfilm Sideline
Yet beneath the glamour, red carpets, and social buzz, the 2025 edition revealed cracks that demand urgent attention. Most notably, the festival’s poor scheduling and its apparent disregard for short filmmakers.
For an event that prides itself on inclusivity, AFRIFF 2025 fell short in ensuring that every category received fair representation and visibility. Reports and reactions from attendees online pointed to chaotic scheduling that saw screenings delayed, rescheduled without notice, or clashing with key industry sessions. Many guests arrived at venues only to find their selected screenings postponed or replaced, leaving confusion and frustration in their wake. For a festival of AFRIFF’s stature, such disorganization suggests a troubling lack of coordination that undermines the festival’s credibility and the efforts of the filmmakers involved. As well as a lack of intentionality, as this has been a constant complaint from several editions.
The issue was even more glaring for the short film category — a section seen as a starting ground for emerging filmmakers. Several attendees and filmmakers expressed disappointment over how short films were sidelined. Abrupt change in venues and disparities in official selection lists and schedule time. Some screenings were sparsely attended, not because the films lacked merit, but because audiences were either unaware of the schedule change or the new location. It is disheartening that, in a festival dedicated to nurturing African talent, the very creators who represent the industry’s future felt pushed aside.
Short films are the heartbeat of any film festival; they capture experimentation, innovation, and the raw hunger that drives the industry forward. When they are treated as fillers rather than features, it sends a discouraging message about whose stories truly matter. AFRIFF’s programming choices this year reflected a shift toward glamour and celebrity culture, sometimes at the expense of genuine artistic discovery. While high-profile screenings and star appearances bring visibility, they should not overshadow the festival’s foundational purpose: creating a balanced platform for all filmmakers.
The consequences of such neglect go beyond one festival cycle. Many of these short filmmakers rely on festivals like AFRIFF not only for visibility but also for validation, funding opportunities, and international networking. When their work is sidelined, it sort of echoes silently the possibility of not being valued or prioritized by the organizers.
Poor Communication Structure
Another pressing issue is the festival’s poor communication structure. The official website, in particular, has become increasingly difficult to navigate, cluttered with outdated information and confusing layouts that frustrate users. This is especially problematic because, beyond the social media pages, the website is meant to serve as the primary and most reliable source of information about the festival. Key details such as film selections, screening times, masterclasses, and venue locations are often uploaded late, and in some cases, updates fail to reflect at all.
As the festival’s official digital hub, the website should also function as an accessible archive of AFRIFF’s progress, milestones, and impact. Ensuring timely and accurate updates is therefore essential, not just for the sake of professionalism, but to provide industry stakeholders and cinephiles with credible insights into the festival’s ongoing development.
Final Thoughts
AFRIFF’s success is not in question, its impact on African filmmaking over the years is undeniable. However, it defintely could achieve so much more. The 2025 edition should serve as a wake-up call for organisers to reassess priorities and restore balance between prestige and purpose. Festivals thrive not on their red carpets but on the integrity of the curation, the fairness of programming, and the value they give to every voice.
If AFRIFF truly seeks to remain Africa’s leading film festival, it must ensure that its next edition does not repeat the same mistakes. The future of African cinema depends not only on celebrating established names but on nurturing the next generation.
About The Author
