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Netflix Viewers Can’t Stop Praising Tobi Bakre’s Masterful Performance in Funke Akindele’s Behind The Scenes

Tosin Ranks
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Netflix Viewers Can’t Stop Praising Tobi Bakre’s Masterful Performance in Funke Akindele’s Behind The Scenes

 

Netflix Viewers Can’t Stop Praising Tobi Bakre’s Masterful Performance in Funke Akindele’s Behind The Scenes

Since Behind The Scenes landed on Netflix on April 3, 2026, a new wave of conversation has taken over social media, with one standout topic: Tobi Bakre’s powerful performance.

The message across timelines is clear. Tobi Bakre delivered like a master. Viewers discovering the film on Netflix are praising the entire cast, but Tobi’s role as Adewale has drawn exceptional attention. From emotional depth to raw intensity, many are describing his performance as one of the film’s defining highlights.

This reaction reflects what Funke Akindele herself shared during recent event. According to the director and producer, Tobi came to set “empty.” Despite his growing reputation, he arrived without preconceived expectations or reliance on past roles. Instead, he brought authenticity, remained open, and delivered a performance that impressed everyone on set.

Now, audiences who missed the cinema run are echoing the same sentiment across X, Instagram, and TikTok. Comments such as “Tobi Bakre nailed this role,” “How can one person be this emotional?” and “Give Tobi his flowers” continue to dominate conversations. Even on X, a platform known for critical takes, the response has been overwhelmingly positive.

While the film’s storytelling, family themes, and overall quality are receiving strong praise, it is the cast’s commitment, especially Tobi’s, that is capturing attention in this new Netflix phase. Funke Akindele’s direction clearly brought out the best in her actors, and viewers are responding to the authenticity and depth on display.

Behind The Scenes continues to prove why it became a box office powerhouse. For those yet to watch it on Netflix, the performances alone make it worth the time.

Big respect to Tobi Bakre for showing up fully, and to Funke Akindele for creating space for such honest and powerful acting. The reviews speak for themselves. 

Meet Moyosore DaSilva-Sonuga, the Force Behind Lagos’s Fastest-Rising Luxury Real Estate Brokerage

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Meet Moyosore DaSilva-Sonuga, the Force Behind Lagos’s Fastest-Rising Luxury Real Estate Brokerage

When Moyosore DaSilva-Sonuga founded Lagos Realty in 2025, she did not arrive at the market as a newcomer testing an idea. She arrived as a broker who had already spent six years learning exactly how serious money moves through the Lagos property market, who the credible developers were, which corridors held genuine value, and how to negotiate a complex transaction to a close that actually served her client. The business she built was not a first attempt. It was a considered entry, made when the foundations were already there.

By the close of its first year in operation, Lagos Realty had closed property transactions exceeding ten billion naira in value.

For a boutique brokerage, that number is not routine. It does not come from high foot traffic or mass-market listings. It comes from a specific kind of work: a founder who built the right relationships before she opened the doors, a client base that trusted her before the company existed under its current name, and a clear understanding of what the luxury segment actually demands from the people who serve it.

Six Years Before the Firm

DaSilva-Sonuga is a luxury real estate broker and investment specialist. She has been working in high-value property transactions in Lagos for over six years. That detail matters more than it might first appear, because in real estate, particularly at the premium end of the market, the professional value a broker carries is almost entirely a function of experience. Market knowledge does not come from reading research reports. It comes from being inside transactions, reading developers, negotiating prices, and managing clients through the anxiety and complexity of committing large sums to illiquid assets.

Six years of that work, done at the level her transaction record suggests, builds something that no amount of capital or marketing can manufacture quickly: a reputation. The clients who bring nine and ten-figure acquisition mandates to a broker are not responding to an advertisement. They are responding to a name they have heard from someone they trust. DaSilva-Sonugaspent six years building that name, and Lagos Realty is, in many respects, the natural next chapter of that professional biography.

What the Firm Does

Lagos Realty is described as a boutique brokerage, and that word, boutique, carries specific meaning here. It does not mean small by accident or limited by resources. It means deliberately focused. The firm concentrates on premium residential and investment-grade assets across three corridors: Ikoyi, Victoria Island, and Lekki. Those are not interchangeable markets. Each has a distinct buyer profile, a different price architecture, and a different investment logic, and working across all three with genuine depth requires a broker who has done the reading and closed the deals.

Ikoyi draws the most established money. Old-money families, senior corporate figures, diplomats, and diaspora buyers who want the most recognised residential address in Nigeria tend to find their way to its streets. Property values there have appreciated sharply over recent years, driven by constrained land supply and sustained demand from buyers who treat the address as much as the asset. For an investor looking to hold a property that does not lose ground against inflation, Ikoyi remains the most dependable answer Lagos has.

Victoria Island sits adjacent to Ikoyi and functions as both a commercial hub and a luxury residential address. Corporate executives, senior professionals, and buyers who want the convenience of proximity to Lagos’s primary business district alongside the lifestyle benefits of premium living are the natural clients here. The properties tend to attract both owner-occupiers and corporate tenants paying annual rents that make the yield case straightforward.

Lekki carries a different energy. It has become the address of choice for a younger generation of high-net-worth buyers, and its off-plan market in particular has attracted investors who read the corridor’s long-term appreciation potential clearly. The infrastructure development along the peninsula, the emergence of new estates and commercial anchors, and the continued movement of affluent Lagosians eastward from the older island addresses have kept demand there consistent and the investment case compelling.

A brokerage that covers all three meaningfully, with the developer relationships and inventory access to actually place clients in the right assets, is doing something that takes years to build. Lagos Realty has built it.

The Work Itself: How Moyosore DaSilva-Sonuga Operates

DaSilva-Sonuga works closely with high-net-worth individuals and investors to structure strategic real estate acquisitions. That sentence deserves unpacking, because it describes a discipline that goes well beyond conventional property sales.

When a high-net-worth client approaches her, the conversation does not begin with a listing. It begins with an understanding of what the client is actually trying to achieve. Are they diversifying an investment portfolio? Acquiring a primary residence? Structuring a generational asset? Planning for rental income? Deploying diaspora capital into naira-denominated property before the exchange rate moves further? Each of those objectives requires a different approach to market selection, asset type, price negotiation, and timing.

Moyosore brings three things to that conversation. The first is deep market intelligence, an understanding of what assets are actually worth in each corridor, what developers are credible, what title documentation is clean, and where value is genuinely concentrated versus where it is simply priced expensively. The second is negotiation expertise. In a market where prices are rarely fixed and where a broker’s ability to negotiate directly affects what a client pays or receives, this is not a marginal skill. It is the central one. The third is access to exclusive inventory, properties that are not widely advertised, off-plan units with preferential pricing for early buyers, and developer relationships that open doors before listings reach the general market.

Combined, those three capabilities allow her to do something that clients at this level genuinely value: take a complex financial decision and manage it with clarity and precision from the initial brief to the signed transfer.

The off-plan segment of her business is particularly notable. Selling an off-plan property requires a broker to guide a client through a purchase where the asset does not yet physically exist. The client is betting on a developer’s track record, a projected timeline, a future valuation, and the broker’s honest assessment of all of those variables. It is a trust-intensive transaction. The fact that Lagos Realty has built a meaningful off-plan practice within its first year speaks directly to the depth of client confidence Moyosore DaSilva-Sonuga carries into every room she enters.

Ten Billion Naira in Year One

That figure deserves its own moment of attention. Ten billion naira in closed transactions, across Ikoyi, Victoria Island, and Lekki, within the first twelve months of a boutique brokerage’s existence.

What makes it significant is not the number alone but what it required to produce it. Each transaction in this segment involves extensive due diligence, title verification, legal documentation, and negotiation across parties who all have their own advisors. These are not quick deals. They require sustained client management, patience under pressure, and the ability to hold a transaction together when complications arise, as they almost always do in the Lagos property market.

To close that volume in year one means DaSilva-Sonuga was not finding her feet. She was operating at full capacity from the start, drawing on six years of accumulated market knowledge and a client network that was already active and trusting before Lagos Realty was registered. The firm’s founding was less a beginning than a formalisation of a practice that had already been running.

It also points to something about her approach to the business. The diaspora investor segment, in particular, requires a broker who can operate with a level of accountability and responsiveness that many Lagos agents do not maintain. A buyer in London or Atlanta committing hundreds of millions of naira to a Lagos property needs someone who will pick up the phone, produce the documentation, manage the inspection, and report honestly on any complications. That standard of service is not common. When a broker consistently provides it, the referrals that follow are almost guaranteed.

The Brand She Has Built

Lagos Realty carries a trademarked philosophy: Connecting Dreams. It runs across the company’s Instagram platform at @lagos.realty, where the firm has built a following of over 9,000 accounts with more than 337 posts representing a consistent body of market-facing work. Moyosore DaSilva-Sonuga’s personal platform at @moyodasilva runs the same philosophy alongside her own professional identity as a Real Estate Investment Consultant, with interests in architecture, fashion, and lifestyle, and a working principle she states plainly: God-backed. Globally inspired.

The alignment between founder identity and company brand is deliberate and well-executed. In a market where trust is the primary currency, a broker whose public presence is consistent, coherent, and professionally rooted sends a clear signal to prospective clients. There is no gap between the person and the firm. What you see on the personal account is the same professional you encounter when you bring a mandate.

Her decision to trademark Connecting Dreams is also worth noting. It is not common practice for a boutique brokerage at this stage to formalize its brand philosophy that way. It signals that She is thinking about Lagos Realty as a long-term institution, not just a current operation.

A Brokerage Built to Last

What emerges from looking at Lagos Realty in full is not the story of a startup moving fast and hoping for the best. It is the story of a professional who spent six years preparing to build something properly, then built it with the discipline that preparation makes possible.

The boutique positioning is intentional. The focus on three specific corridors rather than a broad-market approach is intentional. The emphasis on high-net-worth clients and investment-grade assets rather than volume sales is intentional. Every structural she made when founding Lagos Realty points to a founder who understood her market, understood her own strengths, and designed a business around the intersection of both.

Ten billion naira in year one is the first public result of that design. The referrals those transactions have generated, the developer relationships that have deepened, the client trust that has compounded, those are the assets that will determine what year two and year three look like. If year one is the measure, both will be worth watching closely.

She did not stumble into a fast-growing brokerage. She built one, deliberately and well, in one of the most demanding property markets on the continent. Lagos Realty is the proof.

Positive Buzz Surrounds Funke Akindele’s ‘Behind The Scenes’ as Netflix Release Sparks Widespread Praise

Tosin Ranks
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Positive Buzz Surrounds Funke Akindele’s ‘Behind The Scenes’ as Netflix Release Sparks Widespread Praise

Positive Buzz Surrounds Funke Akindele’s Behind The Scenes as Netflix Release Sparks Widespread Praise

It is refreshing to see the overwhelmingly positive reviews pouring in for Funke Akindele’s blockbuster movie Behind The Scenes, especially from viewers who are just discovering it on Netflix.

Even on X (formerly Twitter), a platform not always known for generous praise, users are celebrating the film. Many are describing it as one of the most impactful and relatable Nollywood stories in recent times, praising its emotional depth, strong performances, family themes, and real-life lessons about success, sacrifice, and self-care.

The movie, which dominated its cinema run by grossing a record-breaking ₦2.7 billion — making it the highest-grossing Nollywood film of all time — is now enjoying a second wave of acclaim from streaming audiences. Viewers who missed it in cinemas are flooding social media with reactions like “Funke Akindele nailed this one,” “So many life lessons,” and “This movie deserves every kobo of that box office success.”

A common sentiment making the rounds is that Behind The Scenes truly earned its ₦2 billion+ milestone, with many arguing it could have gone even higher given its quality and cultural impact. The film’s ability to blend entertainment with powerful messaging has clearly resonated with audiences across Nigeria and beyond.

As Behind The Scenes makes its Netflix debut on April 3, 2026, the strong word-of-mouth further reinforces Funke Akindele’s status as Nollywood’s box office queen. Whether you watched it in cinemas or are experiencing it for the first time on Netflix, one thing is clear — this is more than just a movie; it is a powerful experience.

Well done, Queen Funke. The reviews speak for themselves. 

Kemi Adetiba Opens Global Casting Call for New Epic Film, “The Stool”

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Kemi Adetiba Opens Global Casting Call for New Epic Film, “The Stool”

Kemi Adetiba has opened the door to a new generation of actors with the announcement of a global casting call for her upcoming epic film, The Stool. The project, which is already generating conversation across film circles, signals another ambitious production from the award-winning Nigerian filmmaker known for creating large-scale cinematic stories that resonate both within Africa and internationally.

The announcement invites actors from around the world to audition for roles in the forthcoming film. Rather than limiting the search to traditional casting channels, Adetiba has chosen an open digital approach that allows emerging and established performers to submit auditions through social media platforms. The move reflects a growing shift in the film industry where talent discovery increasingly happens online.

According to the casting notice, interested actors are required to prepare a monologue that demonstrates their emotional depth and ability to “go there” as performers. The instruction suggests that the film will demand powerful dramatic expression and carefully considered character choices. Adetiba has emphasized that every decision made on screen carries weight, indicating that the project will rely heavily on strong performances to carry its narrative.

Participants are asked to record their performance in a setting that allows their talent to stand out clearly on camera. Once recorded, the audition video can be uploaded to platforms such as Instagram, X (formerly Twitter), or TikTok. To ensure the submission reaches the production team, actors must tag the official handle @kemiadetibavisuals and include the hashtags #KAVTheStoolAuditions and #TheStoolAuditions.

The project itself is described with three central themes: power, legacy, and succession. These elements hint at a story rooted in authority, inheritance, and the complex relationships that shape leadership structures. The title, The Stool, also carries symbolic weight in many African traditions where stools often represent kingship, ancestral authority, and political legitimacy.

Within cultural and historical contexts across parts of Africa, the stool has long been regarded as a sacred symbol tied to governance and lineage. Its presence in the film’s title suggests that the narrative may explore themes of leadership struggles, generational transitions, and the responsibilities attached to inherited power.

Adetiba’s previous work has consistently demonstrated her interest in stories that combine political intrigue, human ambition, and strong character arcs. Her productions often blend cinematic scale with culturally rooted storytelling, positioning her projects within both local and global film conversations.

By launching a global casting call, the filmmaker is also expanding access to opportunities within African storytelling. For emerging actors across the continent and in the diaspora, the audition offers a rare chance to be discovered in a project led by one of Nollywood’s most recognized directors.

The announcement has already sparked enthusiasm among aspiring performers and film enthusiasts who view the project as another potential landmark production within Africa’s growing creative industry.

As anticipation builds, The Stool stands as a reminder of Nollywood’s evolving reach. With international attention increasingly focused on African cinema, projects of this scale continue to demonstrate how the continent’s stories can travel across borders while remaining grounded in cultural meaning.

For actors ready to take the opportunity, the instructions are simple: prepare a compelling monologue, record a strong performance, and submit it online. The next face of a major cinematic story may well emerge from this open call.

AKINNAYAJO BABATUNDE (MR TUNEZ) The Filmmaker Building African Cinema from the Inside Out

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AKINNAYAJO BABATUNDE (MR TUNEZ) The Filmmaker Building African Cinema from the Inside Out

A Ranks Africa Magazine Spotlight Publication

The Man Behind the Lens
There is a particular kind of filmmaker who does not simply make films. He builds worlds, nurtures talent, and asks the uncomfortable questions that most people would rather leave unanswered. Akinnayajo Babatunde, known across Nigeria’s creative industry as Mr Tunez, is that kind of filmmaker.

A producer, director, and creative entrepreneur, Babatunde has carved out a distinct identity within Nollywood, one defined not by noise or spectacle, but by a steady, deliberate commitment to stories that matter. His work sits at the intersection of emotional truth and cinematic craft, drawing from the texture of African life to produce films that feel lived-in, urgent, and honest.

His journey through the industry has been one of quiet accumulation. Directing and producing cinema releases such as Midnight (2019) and Arinfesesi: A Day of Misfortune (2023), alongside television features like Whirl (2020) and the recent Tears of the Night (2025) amongst others. Babatunde has demonstrated a range that spans drama, thriller, and socially reflective storytelling. Each project adds another layer to a filmography that speaks consistently in one voice, even as the subjects shift.

What makes his work particularly notable is the consistency of its moral centre. Whether exploring love, betrayal, ambition, or the quiet erosion of human resilience, his films return again and again to the home, to the family unit, to the private spaces where society is first formed and sometimes first broken.

PhotoSceneLenses Africa: Building the Next Generation
Beyond his own productions, Babatunde is the founder of PhotoSceneLenses Africa, a creative training and mentorship platform dedicated to developing emerging filmmakers and producers across the continent. Through workshops, masterclasses, and structured industry programmes including the “Producer’s Blueprint,” he has invested considerable energy into the generation of storytellers that will follow him.

This is not a side interest. It reflects a clear-eyed understanding that the future of African cinema depends not on one or two celebrated names, but on a broad, capable, and disciplined creative workforce. Babatunde has positioned PhotoSceneLenses Africa as a practical bridge between raw talent and professional readiness, emphasising both creative excellence and the business literacy that sustains long careers.

His entrepreneurial instincts have allowed him to approach capacity building the way a studio might approach development: with structure, scalability, and a long view. He is building an ecosystem, not a following.

Mr Tunez’ Fury: A Film Africa Needs to Watch.
Babatunde’s most anticipated project is Fury, a film that takes on one of the most underexamined subjects in African domestic life: postpartum depression and its effect on marriage, intimacy, and the wider family unit. Adapted from a true life story, Fury has already earned nominations for Best Actress, Best Social Message, and Best Sound at the 2025 BON Awards, before its full release, a sign that the film has struck something real and unignorable.

In a conversation with Ranks Africa Magazine, Babatunde spoke openly about why this story demanded to be told.

Fury centres on the emotional and psychological struggles many African women face after childbirth. What brought you to this subject, and why now?
“First and foremost, the home is the most important unit of the society. If a nation or a life will be shaped, it starts from the family. The society is what it is today because of dysfunctions in the home, and some of these issues stem from broken marriages, traced to infidelity, communication gaps, weak sexual intimacy amidst societal pressure and expectations.

This story is crucial at this point because the world needs to pay attention to what the effects of postpartum can cause to marriages and to society at large. This story is an adaptation of a true life story and it is worth sharing for the world to see and learn from.”

The film has been described as a mirror of real situations in many African homes. What realities shaped the direction of the narrative during your research?

“The sad reality is that many husbands and wives are affected after the delivery of their child. Many relationships are strained and sexual intimacy is hugely affected. This is a sad reality in many homes across the world today, and the discourse on how it should be approached and handled is not readily available as much as it should be.”

The film features a cast that blends veteran performers with contemporary television stars. What guided your casting decisions?
“As much as we wanted popular faces, we wanted to tell a story that is very relatable, and that can only be done by talented actors who could interpret the role. Our decisions were guided by talent more than fame.”

The BON Award nominations arrived before the film even reached full release. What does that early recognition mean for you and for socially conscious storytelling in African cinema?

“We are excited about the early recognition even before full release, because this means that there is something striking about our story and the jury could feel or relate to the reality our story painted. This means a whole lot to us and we know this would positively impact millions of people who watch the film.”

SekiApp is involved both as a brand partner and within the storyline itself. How do you see that kind of collaboration shaping the relationship between filmmakers and technology platforms in Africa?

“SekiApp collaborated strategically because they understand that art and tech can coexist perfectly while reaching respective goals. Aside from the fact that SekiApp was actually a part of the story and played a key role, they are also one of our sponsors on the project. They are the GOAT of fast payment.”

A Vision Larger Than Any Single Film
What distinguishes Akinnayajo Babatunde from many of his contemporaries is the breadth of what he is working toward. He is not simply building a filmography. He is working to establish structures, platforms, and standards that can elevate African cinema as a whole.

His projects ask real questions. His training programmes develop real careers. His partnerships demonstrate that African film can operate with the same professional sophistication found in any mature creative industry in the world.

Fury is the most concentrated expression yet of what this filmmaker is capable of when commercial instinct, social conscience, and cinematic craft align. The nominations are a beginning. The release, by all indications, will be something considerably larger.

Akinnayajo Babatunde, Mr Tunez, is not arriving. He has been here, building quietly. Nigeria’s film industry is beginning to catch up with what he already knew.

Ranks Africa Magazine celebrates African creative voices shaping culture, industry, and identity across the continent.

The Night Arinzo Came Back: Inside Iyabo Ojo’s Star-Studded Premiere at Federal Palace

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The Night Arinzo Came Back: Inside Iyabo Ojo’s Star-Studded Premiere at Federal Palace

On the evening of Sunday, March 29, 2026, the Balmoral Hall at Federal Palace Hotel in Victoria Island, Lagos became the gathering point for one of the most talked-about nights in recent Nollywood memory. Iyabo Ojo’s crime-drama thriller, The Return of Arinzo, produced and directed under her Fespris Productions banner, had its official premiere that night , drawing together a vast cross-section of the Nigerian entertainment world. Celebrities, industry insiders, media figures, and fans arrived in numbers, and before the evening was done, it had generated the kind of conversation that extended well beyond the walls of any cinema hall.

The Film and Its Significance
The Return of Arinzo is not a standalone project. The original Arinzo, which came out in 2013, told the story of two sisters whose lives took completely different paths. One became a police officer, the other got pulled into a life of crime and robbery. Their diverging choices turned them into enemies, and by the end, Arinzo had disappeared, with the world assuming she was dead. The sequel raises one simple, very compelling question: now that she is back, what does she want? 

Beyond its narrative, the film represents a personal milestone for its lead. The event marked Iyabo Ojo’s directorial debut, bringing together stars from across West and East Africa at the Balmoral Hall.  For a woman who has spent over two decades in front of the camera, stepping behind it to craft and complete a full feature film is no ordinary achievement.

The cast assembled for the project is genuinely broad in its reach. The Return of Arinzo brings together talents from Nigeria, Tanzania, and Ghana, reinforcing Nollywood’s growing presence on the African and global stage. Among the notable faces attached to the project are Priscilla Ojo, Tanzanian singer Juma Jux, and Ghanaian actor Adjetey Anang, alongside Tanzanian actors Nana Dollz, Patrick Kanumba, Prisca Lyimo, and Zuhura Othman. Nollywood actors Funke Akindele, Bimbo Akintola, Yinka Quadri, and Lalude also appear in the film. 

The Host: Iyabo Ojo’s Evening in Two Acts
The filmmaker and actress arrived at her own premiere with a clear sense of occasion. Iyabo Ojo celebrated the evening in two contrasting looks, moving from a regal blue jacquard gown to a vibrant, crystal-fringed mini dress.  Both outfits, different as they were in mood, communicated the same thing: a woman fully in command of the moment she had built.

The Red Carpet
The “President and His First Lady” theme came alive in the most striking way at the premiere. It showed in the confidence, the posture, and the way everyone carried themselves. This was not merely about dressing up. It was about stepping into power and owning it. 

From Funke Akindele’s purple and gold Somobysomo mermaid gown and Toyin Abraham’s architectural navy Prudential piece to Mercy Aigbe’s crystal-encrusted Becca Needles n Stitches look with a floating tulle cape, the evening celebrated Nollywood’s directorial debut with considerable glamour. 
Celebrities in attendance included Femi Adebayo, Muyiwa Ademola, Ronke Oshodi-Oke, Biola Adebayo, Omowunmi Dada, Hilda Baci, Enioluwa Adeoluwa, Eniola Badmus, Kiekie, Segun Johnson, Toke Makinwa, and Priscilla Ojo with her husband Juma Jux, among others. Additional high-profile guests such as Fathia Williams, Mercy Aigbe, Mo Abudu, Pretty Mike, AY Makun, Odunlade Adekola, Rita Dominic, and Senator Florence Ita-Giwa were also present. 

Senator Ita-Giwa’s presence was not incidental. Iyabo Ojo had unveiled her as the “Mother of the Day” for the grand event, with the lawmaker speaking highly of the actress and showing off her premiere invitation in a video shared online.  It was a gesture that lent the evening a distinct sense of ceremony.

The Controversy That Overshadowed the Room
No account of the night would be honest without addressing what unfolded on the red carpet between two of Nollywood’s most prominent names. In a widely circulated video, Toyin Abraham was seen approaching Funke Akindele and attempting to greet her while slightly kneeling. Akindele appeared unresponsive, keeping a straight face and looking away, a reaction many online interpreted as a deliberate snub. 

The footage spread quickly, and within hours it had become the central discussion point across Nigerian social media. In the clip, Toyin Abraham was first seen exchanging pleasantries with Mercy Aigbe and Iyabo Ojo before approaching Funke Akindele, who did not respond, further fueling online speculation. 
The incident drew added weight from the wider context surrounding both women. Funke Akindele’s Behind the Scenes has reportedly grossed over 2.7 billion naira across West Africa, while Toyin Abraham’s Oversabi Aunty also recorded major success, surpassing 1 billion naira and marking a significant milestone in her directorial career.  The commercial rivalry between them had already been playing out in the press for months before they found themselves in the same room that night.

Iyabo Ojo Speaks
In the days that followed, Iyabo Ojo addressed the situation directly, though not without considerable frustration. She revealed she had once stepped in to broker peace between Akindele and Abraham, even going as far as pleading with both actresses to settle their differences.

 

According to her, the reconciliation came with a clear agreement: no social media shading, with all disputes to be handled privately. That peace, however, did not last. 
She traced the breakdown of that peace to December 2025, when Toyin raised concerns about alleged sabotage of her movie in cinemas, a claim that led fans to speculate that Funke was involved, reigniting tensions between the two. 

On the subject of Toyin Abraham’s absence from the film itself, Iyabo was equally candid. She revealed that Toyin was supposed to be part of the cast, but pulled out at the last minute due to exhaustion and travel plans, which caused her considerable upset as she had to rewrite the story entirely. She noted, however, that the two women later made up and moved on. 

Iyabo stated that she had tried her best to settle the matter and is no longer concerned with mending the rift. “I love them both regardless,” she said, while announcing that The Return of Arinzo would begin showing in cinemas nationwide from April 3, 2026. 

What the Night Meant
Stripped of the drama that followed, the premiere of The Return of Arinzo was, at its core, a remarkable statement of intent from one of Nollywood’s most enduring figures. Iyabo Ojo wrote, produced, directed, and led a film that carried a genuinely pan-African cast, held its world premiere at one of Lagos’s finest event venues, and announced itself to cinema audiences across the country.

What might have been a social gathering escalated into a viral discussion, framed by months of industry tension, fan speculation, and media interpretation.  That the film found itself at the centre of a national conversation before its first week in cinemas speaks, in its own way, to how much the project matters within the industry.

The film opened in cinemas across Nigeria on April 3, 2026, distributed by FilmOne. Whatever verdict audiences ultimately deliver on the screen, the world was already watching.

Ranks Africa Magazine covers African culture, film, business, and the people shaping the continent’s story.

Tourism, Policy and the Orange Economy: NTDA Engages Strategic Leaders at NIPSS

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Tourism, Policy and the Orange Economy: NTDA Engages Strategic Leaders at NIPSS

Discussions on the growing role of tourism in shaping Nigeria’s Orange Economy gained fresh momentum as the Director General of the Nigerian Tourism Development Authority delivered a policy lecture at the National Institute for Policy and Strategic Studies in Kuru, Plateau State.

The lecture formed part of the academic engagement for participants of the Senior Executive Course 48 for the 2026 programme. The gathering brought together senior policymakers, security leaders, administrators, and strategic thinkers who are undergoing advanced leadership training at the institute.

During the session, the Director General examined the strategic importance of tourism as a driver of economic diversification within Nigeria’s emerging Orange Economy. The presentation focused on how tourism can stimulate sustainable development through entrepreneurship, investment in cultural assets, and coordinated policy frameworks that encourage innovation across the creative and hospitality sectors.

Participants explored the intersection between tourism policy and national development. Particular attention was given to how well structured tourism initiatives can generate employment, strengthen local economies, and position Nigeria as a competitive cultural and heritage destination in the global tourism market.

The discussion also emphasized the need for strong collaboration between government institutions, private sector investors, creative professionals, and community stakeholders. According to the lecture, a coordinated policy approach remains essential for unlocking the full economic potential embedded in Nigeria’s cultural heritage, festivals, historical sites, and creative industries.

Beyond the academic engagement at NIPSS, the Director General extended the visit to the NTDA Zonal Office in Jos. The visit formed part of ongoing institutional efforts to strengthen regional coordination and improve operational effectiveness across the Authority’s field structures.

The engagement provided an opportunity to assess activities at the zonal office while reinforcing the agency’s commitment to deepening tourism development across Nigeria’s regions.

The initiative aligns with the broader vision of the Federal Ministry of Art, Culture, Tourism and the Creative Economy to position tourism as a critical pillar within the country’s expanding creative economy.

As Nigeria continues to seek new pathways for economic diversification, stakeholders increasingly view tourism as a strategic sector capable of driving cultural preservation, enterprise development, and sustainable national growth.

THE RECKONING: AMVCA 2026 NOMINATIONS AND THE NEW FACE OF AFRICAN SCREEN STORYTELLING

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THE RECKONING: AMVCA 2026 NOMINATIONS AND THE NEW FACE OF AFRICAN SCREEN STORYTELLING

The Africa Magic Viewers’ Choice Awards has never been merely a ceremony. It is, at its core, an annual audit of the continent’s creative conscience. The 12th edition, announced on Sunday, 29 March 2026, arrives with a list of nominees that reads less like a shortlist and more like a declaration.

A NIGHT THAT HAS BEEN BUILDING ALL YEAR
The nominations for the 12th edition of the Africa Magic Viewers’ Choice Awards were announced on Sunday, 29 March, with The Herd and Gingerrr securing the most nominations.  That fact alone tells you something about the year Nollywood has had. These are not franchise extensions or sequels banking on established goodwill. They are original works, born from genuine creative ambition, and the industry has recognised them accordingly.

The 2026 Africa Magic Viewers’ Choice Awards nominations offer a snapshot of Nollywood today, with names like Lateef Adedimeji and Bimbo Akintola leading a competitive field. This 12th edition features 32 categories, as unveiled by the head of the jury, Joke Silva, during the live broadcast. 

The ceremony, one of the most closely watched award seasons in African film and television, is scheduled to take place on 9 May 2026.  Lagosians who have attended previous editions will know the weight that date carries. This is the night the industry stops talking about films and starts deciding which ones mattered most.

THE FILMS LEADING THE CHARGE

The Herd

The Herd and Gingerrr: Nine Nominations Each
Gingerrr and The Herd lead the nominations list with nine each, followed closely by To Kill A Monkey with eight and My Father’s Shadow with seven nominations. 

The dominance of Gingerrr is felt across Best Movie, Best Director, Best Supporting Actor, Best Supporting Actress, Best Cinematography, Best Make-up, Best Score Music, Best Sound Design, and Best Writing Movie.  For a film to register that broadly, across creative, technical, and performance categories simultaneously, is rare in any awards cycle. It speaks to a production that understood what it was trying to be and executed accordingly.

The Herd earned nominations in major categories including Best Overall Movie, Best Director for Daniel Etim Effiong, and Best Writing in a Movie. It also received acting nominations for Genoveva Umeh in the Best Lead Actress category, and for Linda Ejiofor and Amal Umar in Best Supporting Actress. In addition, the film was recognised in technical fields such as Cinematography, Sound Design, and Art Direction. 

Daniel Etim Effiong directing The Herd is a significant development in Nollywood’s current creative moment. Here is an actor of considerable standing choosing, at this point in his career, to step behind the camera with a project of real substance, and the industry’s most prominent jury has responded with the most nominations in the entire field. That is not a small thing.

To Kill A Monkey: The Netflix Series Making Its Mark


The Netflix series To Kill A Monkey picked up nominations in Best Series (Scripted), Best Lead Actor, Best Lead Actress, and Best Supporting Actor, as well as nods for Cinematography and Score Music.  Its presence across both series and individual performance categories confirms what subscribers have suspected: this production carried genuine weight in the 2025 content cycle, not simply the weight of a platform’s marketing spend.

My Father’s Shadow: Seven Nominations and a Directorial Conversation


Akinola Davies Jr. earned a Best Director nomination for My Father’s Shadow,  placing him in conversation with Tunde Kelani, James Omokwe, Daniel Etim Effiong, Yemi Filmboy Morafa, and Asurf Amuwa Oluseyi in what is arguably the most competitive directing field the AMVCAs have assembled in several years. The presence of Davies Jr., whose international profile has grown considerably, alongside veterans like Kelani signals that the jury is weighing craft, not reputation alone.

THE PERFORMANCES THE INDUSTRY IS WATCHING
Lateef Adedimeji: The Most Nominated Individual


Lateef Adedimeji is the most-nominated individual of the year, earning three nominations that highlight his range across different genres.  He appears in Best Supporting Actor for Gingerrr, Best Supporting Actor for Red Circle, and Best Lead Actor for Lisabi: A Legend Is Born. Three nominations, three different films, three different registers of performance. Whatever the outcome on 9 May, the nominations alone constitute a statement about where Adedimeji stands in the current Nollywood hierarchy.

Bimbo Akintola: A Legacy Reaffirmed


Bimbo Akintola’s nomination for Best Lead Actress in To Kill A Monkey is one of the most anticipated individual contests on the night. She enters the category alongside Linda Ejiofor (The Serpent’s Gift), Genoveva Umeh (The Herd), Sola Sobowale (Her Excellency), Scarlet Gomez (Behind The Scenes), Ifeoma Fafunwa (The Lost Days), Ariyike Owolagba (Something About The Briggs), and Gloria Anozie-Young (Mother Of The Brides). It is a category where any of eight women could reasonably win. That is not dilution of competition; it is proof that the year produced performances of exceptional quality.

The Double-Category Performers

Several stars and technicians have landed multiple nominations, proving their dominance in their respective fields. Linda Ejiofor received nominations for both Best Lead Actress and Best Supporting Actress. Sola Sobowale earned nominations in both the same categories. Uzor Arukwe and Femi Branch both appeared in Best Supporting Actor and Best Lead Actor categories simultaneously.  These are not scheduling accidents; they reflect performers whose bodies of work in 2025 were simply too consistent to be captured in a single category.

THE NEW STRUCTURE: 32 CATEGORIES AND A BROADER CONTINENTAL REACH


The 2026 edition features 32 categories, comprising 18 jury-voting categories, 11 public-voting categories, and three special recognition awards, including Lifetime Achievement and Trailblazer honours. 
The most significant structural development, however, is geographic. The AMVCA 2026 introduces two new categories, Best Indigenous Language Film (North Africa) and Best Indigenous Language Film (Central Africa), aimed at making the awards more inclusive as it expands its pan-African scope, according to MultiChoice, which organises the awards. 

The North Africa category nominees include The Omnipresent, The Delivery, The Hidden Voice, This Is Portsaid, and Artal Alhanin: Our Memories. The Central Africa category includes Mabanda, Safou: A Gift From Nature, and Golden Spoon. These are productions that, in previous editions, would have had no formal home within the AMVCAs. Their inclusion this year is not ceremonial. It is an acknowledgement that African storytelling has never been confined to Lagos and Johannesburg, and that the continent’s most prominent film awards should reflect that reality.

East Africa’s Growing Footprint
Kenya secured 12 nominations across films and television productions, including MTV Shuga Mashariki. Also nominated from East Africa are Uganda’s Oscars 2026 entry Kimote, Tanzania’s My Son, and Ethiopia’s Addis Fikir for Best Indigenous Language Film (East Africa); Ugandan documentary BOU; and reality series Undugu (Tanzania) and Kampala Creme (Uganda). 

The Ethiopian entry Addis Fikir competing in the East Africa Indigenous Language category, alongside the writing nomination for Besufekade Mulu in Best Writing TV Series, marks a quiet but important expansion of the awards’ scope. A film from Addis Ababa standing alongside productions from Lagos, Nairobi, and Kampala, on the same nominations list, managed by the same jury, is the kind of practical Pan-Africanism that rarely receives the attention it deserves.

JOKE SILVA AT THE HELM: A CONSIDERED APPOINTMENT


Veteran actress Joke Silva was appointed as Head Judge, succeeding filmmaker Femi Odugbemi.  Her appointment carries a symbolism that is worth pausing on. Silva is not a film critic or an industry executive in the traditional sense; she is a practitioner of decades’ standing, someone who has sat on both sides of the camera, navigated the commercial and artistic pressures of Nigerian screen work, and maintained a level of craft that the industry regards with something close to reverence.

Her appointment underscores the awards’ commitment to rewarding authentic African narratives that resonate globally.  With Silva as Head Judge, the jury is being led by someone whose own body of work embodies the standards these awards are intended to recognise.

THE TECHNICAL FIELDS: WHERE NOLLYWOOD’S MATURITY SHOWS
One of the more telling signs of an industry’s development is the depth and seriousness of competition in its technical categories. The AMVCAs have always included these fields; what distinguishes the 2026 edition is how intensely contested they have become.
In Best Cinematography, Emmanuel Igbekele earned three separate nominations, for The Herd, The Serpent’s Gift, and Gingerrr. That one director of photography worked at the level required to earn three nominations in the same awards cycle, across three different productions, speaks to both his individual quality and the expanding demand for skilled cinematographic work in the industry.
Similarly, Tolu Obanro appears in both Best Sound Design and Best Music Score, while Adeola Bamgboye earned three nominations in Best Makeup for Lisabi: A Legend Is Born, Abanisete, and Labake Olododo. These are craftspeople whose contributions rarely attract the public attention that performance nominations do, but whose work is what gives Nollywood’s best productions their visual and sonic authority.

THE CATEGORIES OPEN TO PUBLIC VOTE
Voting is already underway for the public categories on the AMVCA website and will close on 26 April 2026. 
The public voting categories include Best Series Unscripted, Best Series Scripted, Best Movie, Best Lead Actor, Best Lead Actress, Best Supporting Actor, Best Supporting Actress, Best Director, Best Digital Content Creator, Best Indigenous M-Net Original, and Best Documentary. For viewers who believe their favourites have been shortchanged by jury panels in previous years, this is the mechanism through which those grievances can be expressed in a way that counts.

THE BEST OVERALL MOVIE CATEGORY: A FINAL RECKONING

The Best Overall Movie nominees are Gingerrr, The Herd, My Father’s Shadow, 3 Cold Dishes, The Serpent’s Gift, and Behind The Scenes. Six films. Each with a credible case. Each representing a distinct approach to African storytelling.

Funke Akindele’s Behind The Scenes and Toyin Abraham’s Oversabi Aunty earning places in the nominations alongside more festival-oriented works confirms something that industry observers have noted for some time now: the line between commercial Nollywood and prestige Nollywood has grown considerably thinner. Productions can now pursue wide audiences and critical recognition within the same release cycle, without the two being treated as mutually exclusive objectives.

THE AWARDS NIGHT: 9 MAY 2026, LAGOS
The category winners will be announced at the AMVCA gala event in Lagos on 9 May 2026.  The broadcast will be carried live across Africa Magic channels, reaching audiences across the continent.

What makes this edition particularly worth following is not any single nomination or any single frontrunner. It is the structural moment the AMVCAs now occupy in African cultural life. An awards ceremony that began as a platform for celebrating African screen content has, over twelve editions, become the primary annual occasion on which the continent’s film and television industry takes stock of itself, debates its priorities, and recognises the work it most wants to stand behind.

The 2026 nominations list reflects a continent whose creative industries are maturing in real time, absorbing new talent, expanding geographically, and producing work of sufficient quality that the debates about who deserves recognition are genuinely difficult to resolve. That difficulty, that sense that any of several productions and performers could reasonably win, is not a problem with the AMVCAs. It is precisely the point.

The reckoning begins 9 May.

LRanks Africa Magazine covers culture, business, and creative excellence across the African continent. For editorial inquiries or to feature your production, contact the editorial desk.

Ebi Festival Ikija-Ijebu 2026: A Celebration of Tradition, Community, and Ancestral Heritage

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Ebi Festival Ikija-Ijebu 2026: A Celebration of Tradition, Community, and Ancestral Heritage

The 2026 edition of the Ebi Festival in Ikija-Ijebu has come to a close, leaving behind memories of a powerful cultural gathering that once again reaffirmed the enduring spirit of tradition in the community. With the final procession concluded and the drums gradually fading into silence, residents and visitors alike can now say that another remarkable chapter of the historic festival has been written.

From the early hours of the day, the streets of Ikija-Ijebu came alive with energy and anticipation. Groups of celebrants moved through the town in procession, carrying symbolic branches and traditional instruments while chanting and invoking the ancestral spirit that defines the festival. The sound of drums echoed across the community, drawing families, elders, and curious visitors out to witness the spectacle.

The Ebi Festival remains one of the most distinctive traditional events in Ikija-Ijebu. Beyond its vibrant public display, the festival holds deep cultural significance for the people of the town. It is a time when age-long customs are preserved and reaffirmed, when the community gathers to honour its lineage, and when the bond between the living and their ancestors is symbolically renewed.

This year’s celebration reflected that heritage with striking clarity. Traditional drummers led the processions, their rhythms guiding the movements of participants who carried sacred branches used in ritual displays. The atmosphere was filled with chants, laughter, and spirited interactions among participants who proudly carried forward the customs passed down through generations.

Elders of the community were present to observe and guide the proceedings, ensuring that each element of the festival followed the traditions that define the event. Their presence served as a reminder that the Ebi Festival is not merely a public spectacle, but a living expression of identity and cultural continuity for the people of Ikija-Ijebu.

Across the town, residents gathered along the streets to watch the procession pass. Children ran alongside the celebrants, while older members of the community shared stories about past festivals, linking the present celebration with memories of earlier generations.

In many ways, the Ebi Festival represents more than a single day of cultural display. It stands as a reaffirmation of communal unity and a reminder that traditional values still occupy a vital place in modern society. Each drumbeat, chant, and procession reflects the resilience of heritage in a rapidly changing world.

As the day gradually drew to an end and the final gatherings dispersed, the atmosphere shifted from celebration to reflection. Another successful edition of the festival had been completed, leaving the community with renewed pride in its cultural legacy.

For the people of Ikija-Ijebu, the message of the festival remains clear. Tradition continues to thrive where communities honour their past and celebrate their identity together.

The 2026 Ebi Festival may now be done and dusted, but its spirit will continue to echo through the town until the next gathering calls the people together once again.

Aṣéyí Ṣamọdún ooo.

Until next year.

 

Written By Adesina Kasali

Funke Akindele and Toyin Abraham: Understanding One of Nollywood’s Most Talked-About Rivalries

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Funke Akindele and Toyin Abraham: Understanding One of Nollywood’s Most Talked-About Rivalries

The Nigerian film industry thrives on talent, competition, and strong personalities. Over the years, two of its most commercially successful figures, Funke Akindele and Toyin Abraham, have built remarkable careers that have shaped the modern box office era of Nollywood. Yet alongside their achievements, discussions about a long-standing rivalry between the two actresses continue to surface whenever a new incident occurs in public.

The latest moment fueling speculation emerged during the premiere of The Rise of Arinzo, a film by Iyabo Ojo. A circulating video from the event shows Toyin Abraham greeting several guests at a table while Funke Akindele appeared not to acknowledge the interaction. The short clip quickly spread across social media, triggering widespread debate among fans and commentators.

Some viewers argued that Funke Akindele should have acknowledged the greeting regardless of any personal differences. Others suggested that Toyin Abraham should not have approached someone she reportedly has unresolved issues with. The episode has once again revived public curiosity about what may have caused tension between two of Nollywood’s biggest female stars.

Competition at the Box Office

One explanation frequently discussed within the industry relates to the intense competition between both actresses at the Nigerian box office. In recent years, Funke Akindele and Toyin Abraham have consistently released films that dominate cinema attendance during festive periods, particularly December.

Both filmmakers are known for producing large-scale commercial projects that draw significant audiences. This competitive dynamic has often led to comparisons over who holds greater influence or commercial strength within the industry. For some observers, this ongoing race for box office dominance has gradually transformed professional rivalry into perceived personal tension.

The competition has also been amplified by marketing campaigns, fan loyalty, and social media conversations that frequently frame both actresses as opposing forces in the same commercial space.

The 2021 Controversy

Another incident that contributed to speculation about a rift occurred in 2021. During the release period of Toyin Abraham’s film The Ghost and the Tout Too, Iyabo Ojo publicly accused Funke Akindele of allegedly influencing a movie blog to publish negative commentary about the project.

Iyabo Ojo openly criticised the situation at the time, suggesting that attempts were being made to discredit Toyin Abraham’s work. The comments attracted widespread attention online and further fueled narratives of rivalry within Nollywood.

Interestingly, relations between Iyabo Ojo and Funke Akindele appear to have improved in later years. At the premiere of The Rise of Arinzo, Funke Akindele was seated among prominent guests at the event despite their previous disagreement. This development suggests that disagreements in the industry can evolve or soften over time.

Public Interactions Between the Two Stars

Observers have also pointed to moments that appeared to reveal a somewhat distant tone between both actresses. In one instance, Toyin Abraham posted a photograph of herself with Funke Akindele on social media and wrote a message emphasising that there was no conflict between them. She praised Funke’s dedication to her craft and expressed respect for her contributions to Nollywood.

Funke Akindele’s response in the comment section was brief. She simply wrote, “All the best, Toyin.” While the remark was polite, many readers interpreted the response as reserved compared with Toyin’s more expressive message.

The Kunle Afolayan Dimension

Another development that reignited discussions about the alleged rivalry involved filmmaker Kunle Afolayan. In a widely discussed commentary, Afolayan criticised the growing trend of using dance challenges and viral social media content to promote movies. According to him, storytelling depth was gradually being overshadowed by marketing gimmicks.

The comment sparked mixed reactions across the industry. Reports suggested that Funke Akindele strongly disagreed with the remarks and expressed her frustration on social media, arguing that creative marketing should not be dismissed.

Meanwhile, Toyin Abraham publicly interacted with Afolayan’s posts and appeared to support his perspective. She also created a humorous skit referencing the discussion, which some viewers interpreted as indirect criticism of the marketing strategies used by certain filmmakers.

Although the interaction was largely interpreted as playful engagement, it further intensified public speculation about tensions between the two actresses.

Cinema Distribution Concerns

Another moment that stirred debate occurred in December 2025 when Toyin Abraham raised concerns about cinema distribution practices. She suggested that some filmmakers might be receiving preferential treatment from cinemas, allowing their movies to dominate screening slots.

Many industry watchers believed the comments were indirectly referencing a film released by Funke Akindele at the time, which was performing exceptionally well in theatres. However, the statement did not mention any individual by name, leaving the interpretation largely within the realm of public speculation.

A Reflection of Nollywood’s Competitive Landscape

Ultimately, the ongoing conversation surrounding Funke Akindele and Toyin Abraham reflects the broader dynamics of a fast-growing film industry. Nollywood has expanded significantly over the past decade, and with that growth has come intense competition for audience attention, cinema screens, and commercial success.

Rivalries, whether real or perceived, are not uncommon in creative industries around the world. At the same time, many industry stakeholders argue that collaboration among filmmakers could strengthen Nollywood’s global position more effectively than public disagreements.

The Nigerian film industry continues to evolve, with both Funke Akindele and Toyin Abraham remaining among its most influential figures. Their individual successes have contributed significantly to Nollywood’s commercial expansion and cultural reach.

As audiences continue to debate their relationship, the larger question remains whether competition will define the future of the industry, or whether stronger partnerships among leading filmmakers will shape the next phase of Nollywood’s growth.

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