Skip to main content

FULL LIST OF WINNERS AT JUST CONCLUDED AFRICA MAGIC VIEWERS CHOICE AWARD.

The 2016 Africa Magic Viewers Choice Awards held at the Eko Hotel and Suites, Victoria Island, Lagos last night. After the cut is the full list of winners…


BEST TELEVISION SERIES
WINNER: ARIYIKE OLADIPO – DADDY’S GIRLS

BEST ACTOR IN A COMEDY (MOVIE/TV SERIES)  
WINNER: FOLARIN FALANA – JENIFA’S DIARY

BEST ACTOR IN A DRAMA (MOVIE/TV SERIES)
WINNER: DANIEL K. DANIEL – A SOLDIER’S STORY

BEST ACTRESS IN A COMEDY (MOVIE/TV SERIES)
WINNER: FUNKE AKINDELE – JENIFA’S DIARY

BEST ACTRESS IN A DRAMA (MOVIE/TV SERIES)
WINNER: ADESUA ETOMI – FALLING

BEST MOVIE – SOUTHERN AFRICA
WINNER: JOYCE MHANGO CHAVULA – LILONGWE

BEST SUPPORTING ACTOR
WINNER: SAMBASSA NZERIBE – A SOLDIER’S STORY

BEST SUPPORTING ACTRESS (MOVIE/TV SERIES)
WINNER: TUNBOSUN AIYEDIHIN – BEFORE 30

BEST SHORTFILM OR ONLINE VIDEO
WINNER: OLUSEYI AMUWA – A DAY WITH DEATH

BEST INDIGENOUS LANGUAGE MOVIE/TV SERIES – YORUBA
WINNER: ABIODUN JIMOH AND JUMOKE ODETOLA – BINTA OFEGE

BEST MOVIE – WEST AFRICA (DRAMA/COMEDY)
WINNER: CHINNY ONWUGBENU, GENVIEVE NNAJI, CHICHI NWOKO – ROAD TO YESTERDAY

BEST INDIGENOUS LANGUAGE MOVIE/TV SERIES- IGBO
WINNER: PAUL IGWE – USEKWU IGBO

BEST INDIGENOUS LANGUAGE MOVIE/TV SERIES – HAUSA
WINNER: SALISU BALARABE – DADIN KOWA

BEST INDIGENOUS LANGUAGE MOVIE/TV SERIES – SWAHILI
WINNER: JOSEPHAT LUKAZA – KITENDAWALI

BEST MOVIE – EAST AFRICA
WINNER: ELIZABETH MICHAEL – MAPENZI

BEST OVERALL MOVE
WINNER: STEPHANIE LINUS – DRY

BEST WRITER OF A MOVIE / TV SERIES
WINNER: TRISH MALONE – AYANDA

BEST COSTUME
WINNER: UCHE NANCY – DRY

BEST MAKEUP
WINNER: LOUIZA CAROLE – AYANDA

BEST LIGHTING
WINNER: STANLEY OHIKHUARE – COMMON MAN

BEST DIRECTOR
WINNER: AKIN OMOTOSHO – TELL ME SWEET SOMETHING

BEST PICTURE EDITOR
WINNER: SHIRLEY FRIMPONG – MANSO

BEST DOCUMENTARY
WINNER: REMI VAUGHAN – RICHARDS

BEST ART DIRECTOR (MOVIE/TV SERIES)
WINNER: FRANK RAJA ARASE – THE REFUGEES

BEST CINEMATOGRAPHER
WINNER: PAUL MICHAELSON – TELL ME SOMETHING

BEST SOUND EDITOR (MOVIE/TV SERIES)
WINNER: MARQUEX JOSE GUILLERMO – DRY

Merit Award
WINNER: Bukky Ajayi

Comments

Popular posts from this blog

The Sphere

Photograph by Elena Saavedra Buckley. Once when I was about twelve I was walking down the dead-end road in Albuquerque where I grew up, around twilight with a friend. Far beyond the end of the road was a mountain range, and at that time of evening it flattened into a matte indigo wash, like a mural. While kicking down the asphalt we saw a small bright light appear at the top of the peaks, near where we knew radio towers to occasionally emit flashes of red. But this glare, blinding and colorless, grew at an alarming rate. It looked like a single floodlight and then a tight swarm beginning to leak over the edge of the summit. My friend and I became frightened, and as the light poured from the crest, our murmurs turned into screams. We stood there, clutching our heads, screaming. I knew this was the thing that was going to come and get me. It was finally going to show me the horrifying wiring that lay just behind the visible universe and that was inside of me too. And then, a couple se

The Rejection Plot

Print from Trouble , by Bruce Charlesworth, a portfolio which appeared in The Paris Review in the magazine’s Fall 1985 issue. Rejection may be universal, but as plots go, it’s second-rate—all buildup and no closure, an inherent letdown. Stories are usually defined by progress: the development of events toward their conclusions, characters toward their fates, questions toward understanding, themes toward fulfillment. But unlike marriage, murder, and war, rejection offers no obstacles to surmount, milestones to mark, rituals to observe. If a plot point is a shift in a state of affairs—the meeting of a long-lost twin, the fateful red stain on a handkerchief—rejection offers none; what was true before is true after. Nothing happens, no one is materially harmed, and the rejected party loses nothing but the cherished prospect of something they never had to begin with. If the romance plot sets up an enticing question—Will they or won’t they? — the rejection plot spoils everything upfront:

On the Distinctiveness of Writing in China

Yan Lianke at the Salon du Livre, 2010. Photograph by Georges Seguin, via Wikimedia Commons . Licensed under CC BY-SA 3.0 DEED . When I talk to non-Chinese readers like yourselves, I often find that you are interested in hearing about what distinguishes me as an author but also what distinguishes my country—and particularly details that go beyond what you see on the television, read about in newspapers, and hear about from tourists. I know that China’s international reputation is like that of a young upstart from the countryside who has money but lacks culture, education, and knowledge. Of course, in addition to money, this young upstart also has things like despotism and injustice, while lacking democracy and freedom. The result is like a wild man who is loaded with gold bullion but wears shabby clothing, behaves rudely, stinks of bad breath, and never plays by the rules. If an author must write under the oversight of this sort of individual, how should that author evaluate, discu