
The Africa Movie Academy Awards have long served as the reflection of the continent’s evolving cinema landscape. AMAA 2025, held at the Balmoral Convention Centre in Lagos, confirmed that Nollywood remains a powerful presence across Africa, even as other national industries continue to sharpen their craft and command more space. It was a competitive year, one defined by technical ambition and cultural storytelling that stretched from Nigeria and South Africa to Burkina Faso, Uganda, and Algeria.
For Nollywood, the results mark both consolidation and transition. 3 Cold Dishes led Nigeria’s charge, claiming Best Nigerian Film and Best Achievement in Production Design, while also producing a win for Ruby Akubueze in the Promising Actor category. The film’s ensemble and visual precision reinforced Asurf Oluseyi’s reputation for marrying craft with emotional truth. Lisabi: The Uprising also delivered a major moment with Lateef Adedimeji’s Best Actor win and an award for Makeup Achievement. Together, these victories highlight how Nigerian cinema continues to balance star-driven storytelling with large-scale production design and expressive cultural narratives
Elsewhere, The Serpent Gift earned Tina Mba a richly deserved Best Supporting Actress award, while Niyi Akinmolayan’s direction on Lisabi was recognised among the continent’s strongest. What these wins underline is Nollywood’s continued dominance in acting categories and its steady improvement in technical areas that were once seen as its weak spots.
Still, AMAA 2025 revealed a more balanced African field than in previous years. South Africa’s The Heart is a Muscle emerged as Best Film, sweeping both Editing and Cinematography, while Burkina Faso’s Katanga: Dance of the Scorpions claimed Best Film in an African Language, Best Costume Design, and Best Director for Dany Kouyate. Uganda’s Small Gods confirmed the East African industry’s growing energy, taking home Best Actress for Florence Mariserena.
Ethiopia, Algeria, and Lesotho also maintained strong showings across technical and diaspora categories, emphasising that African cinema is not only diversifying but also collaborating across borders.






