10 Nollywood Films That Deserve AMVCA 12 Recognition

A new award season is upon us, with the call for entries to the 12th edition of the Africa Magic Viewers’ Choice Awards (AMVCA) now open from January 11 to February 15. From a diverse slate of theatrical and streaming releases, we’ve highlighted 10 films that deserve recognition, whether for their ensemble cast, direction, storytelling, cinematography, or sheer excellence in crafting narratives that resonate on every level.

Considering the eligibility window (January 1 – December 31, 2025) and the buzz surrounding last year’s releases, these films stand out as essential contenders, each earning a rightful seat at the table for AMVCA 12.

Shaping Us

Kambili Ofili’s directorial debut, Shaping Us, may have flown under the radar, but it is a film that demands attention. The story follows a close-knit group of friends reuniting for a farewell dinner, using their conversations to explore the complexities of motherhood, love, and friendship. Amid these intertwining arcs, the most compelling belongs to Zainab (Uzoamaka Power), a woman quietly unravelling under the weight of postpartum depression.

Uzoamaka’s performance is haunting in its beauty, capturing both fragility and resilience with striking authenticity. Bucci Franklin, as Doctor Yan, complements her with a portrayal of a well-meaning yet emotionally clumsy partner, a reflection of men who wish to help but struggle to know how. Together, they elevate the film, offering performances that deserve recognition for their depth, honesty, and emotional resonance.

My Mother Is A Witch

Written and directed by Niyi Akinmolayan (The House of Secrets) for Anthill Studios and Frameflix, My Mother is a Witch is a deeply affecting exploration of intergenerational trauma and family dysfunction. At its heart is the strained relationship between Adesuwa (Mercy Aigbe) and her daughter Jess (Efe Irele), a dynamic that confronts pain, resentment, and the long shadows of the past.

The story unfolds after a twelve-year separation, using mirrored narratives to unravel the roots of their conflict and the complexities of forgiveness. It is a film that navigates the delicate balance between reckoning and healing with care and nuance. Mercy Aigbe and Efe Irele deliver performances of remarkable depth, capturing both the fragility and resilience of their characters. Both performances deserve every accolade.

The Fire and The Moth

Taiwo Egunjobi’s The Fire and the Moth (2025) is a stripped-back Nigerian crime drama that follows Saba (Tayo Faniran), a small-time smuggler who steals a sacred Ife bronze head and attempts to move it through a harsh western border town.

What begins as a job for a foreign buyer quickly curdles into a manhunt, drawing the attention of a corrupt police officer (Olarotimi Fakunle) and a flamethrower-wielding contractor. Greed, violence, and survival close in from every side as Saba struggles with a plan that removes him from it all.  The film’s greatest strength is its visual command and it deserves accolades for that.

Reel Love

When it comes to an enemies-to-lovers story done right in Nollywood, Reel Love stands out. Directed by Kayode Kasum, the film follows Tomide (Timini Egbuson), a relationship influencer whose reputation is on the line after a viral argument. To save face, his girlfriend Imani (Atlanta Bridget Johnson) suggests faking a romance with Rachel (T.J. Omusuku).

As the staged relationship gains traction online, drawing both popularity and lucrative deals, real feelings begin to emerge, complicating their carefully curated lives. Reel Love deftly captures the fickleness of social media while exploring how digital culture seeps into personal relationships. Beyond the clever premise, it is T.J. Omusuku who commands attention, her chemistry with Timini is electric, and she infuses Rachel with a warmth and nuance that makes every scene she’s in unforgettable.

The Herd

The Herd follows a newlywed couple and their best man whose celebration turns into a nightmare when they are abducted by violent bandits disguised as herdsmen. Directed by Daniel Etim Effiong, the social thriller addresses the kidnapping epidemic in Nigeria through a realistic, gritty lens, while highlighting the emotional toll it takes on victims loved ones.

One thing the film does well is how it shows the dark aspects of people without stereotyping the entire cultures that they come from. Overall, it is one film that deserves accolades for a well told story.

Red Circle

Red Circle is a taut crime thriller that follows Fikayo Holloway, a privileged investigative journalist drawn into the dark underbelly of Lagos after her friend is murdered. Directed by Akay Mason and produced by Nora Awolowo, the film exposes a ruthless crime syndicate and the layers of corruption that surround it, forcing Fikayo to confront the unsettling truth that danger often comes from the closest quarters.

Amid a strong ensemble cast, Folu Storms delivers a standout performance, bringing gravitas and intensity to her role. While the story occasionally falters, the film’s tension, pacing, and performances make it a compelling watch, one that deserves recognition for its ambition and for pushing Nollywood’s crime thriller narrative forward.

Mother of the Brides

In Mother of the Brides, an Africa Magic original series, tradition is both law and weapon. The story revolves around the Sylvia-White family, who have spent generations navigating the delicate balance between power and propriety. When the patriarch, Erasmus (Kalu Ikeagwu), dies without a will, his widow, Mai Sisi (Gloria Anozie-Young), is thrust into a battle as ancient as it is ruthless, a fight for the right to exist within her husband’s legacy.

The series excels in its pacing, steadily building tension without ever feeling rushed. Standout performances, particularly from Gloria Anozie-Young, Fae Olumide and Uche Chika, bring depth and nuance to their characters, capturing the pain, ambition, and resilience that drive the family’s drama. Mother of the Brides is a measured, compelling exploration of tradition, power, and survival, deserving recognition for its storytelling and performances.

To Kill A Monkey

After the success of King of Boys, Kemi Adetiba delves yet again into the crime-thriller space with ‘To Kill a Monkey.’ The series follows Efemini (William Benson), a struggling Lagos family man who is pulled into the dangerous underworld of cybercrime after a chance encounter with an old friend, forcing him to make increasingly dark and morally compromising choices to survive.

While the limited series sparked mixed reactions, one thing audiences largely agree on is the gripping onscreen chemistry between Efe (William Benson) and Oboz (Bucci Franklin). Benson delivers a nuanced performance as a man in distress, while Franklin brings a fiery intensity to Oboz, making their dynamic one of the show’s most compelling elements

Behind The Scenes

In Funke Akindele’s latest box-office blockbuster, Scarlet Gomez stars as Aderonke “Ronky-Fella” Faniran, a wealthy real estate mogul whose excessive generosity toward entitled family and friends leads to personal burnout and an urgent need to set boundaries.

It’s a deeply relatable story that explores themes of financial strain, familial exploitation, and emotional labour, with Gomez delivering an effortless performance that certainly deserves recognition.

Aso Ebi Diaries

Aso Ebi Diaries lures you in with the promise of an owambe spectacle but ultimately delivers a heartfelt story of friendship, community, heartbreak, and healing. Directed by Biodun Stephen, the drama follows Elizabeth “Fari” Gomez (Nancy Isime), who turns to high-fashion aso ebi as a way to rebuild her life and social standing after a family scandal.

With the support of her friends Temisan (Kiekie) and Chizzy (Chizzy Alichi), Fari navigates Lagos’ elite social scene while torn between a loyal friend, Dimeji, and a past crush whose intentions are far from sincere. From the assured direction to the strong performances by the cast, the film deserves recognition across the board.

Entries are still open until Sunday, 15 February 2026, for the 12th edition of the AMVCAs, inviting filmmakers and content creators from across the continent to submit their work for consideration.