Connect with us

Broadcasting

Afreximbank Unveils Third Edition of Short Film Competition ‘Creative Africa Nexus’

Published

on

Kindly share this post

Creative Africa Nexus (CANEX), an intervention by African Export–Import Bank (Afreximbank) has announced the third edition of its vibrant short film competition, CANEX Shorts, that is designed to recognise and celebrate talents of young filmmakers from Africa and the Diaspora.

Filmmakers between the ages of 18 and 35 years can enter the competition for a chance to win a cash prize of $2,000 for outstanding work in each of the competition’s three categories: Best Fiction, Best Documentary, and Best Animation.

To be eligible, they must be Africans living on the continent, in the diaspora or the Caribbean. Each filmmaker can only enter one film for which they must hold all rights. The entered films should have been produced in 2023 or after and can be in any language.

Besides the cash prize, CANEX Shorts winners will also get an opportunity to participate and have their films screened at CANEX at IATF2025, which will take place in Algiers, Algeria, from September 4th to 10th, 2025, a statement explained.

This will also provide them with a chance to connect with potential investors and partners in what has become the largest gathering of creatives on the continent.

“To enter the competition, filmmakers are required to submit their films, not more than five minutes long, via the Film Freeway digital platform (https://FilmFreeway.com/CANEXShorts). From all entries, the selection committee will curate a shortlist of 30 films – 10 films per category for submission to the jury that comprises, well-respected film experts from across the continent. The jury will then select a winning film in each of the categories during CANEX at IATF2025.

“The 2024 CANEX shorts winners were unveiled at CANEX WKND 2024. The winning films were: Silent Screams by Esenaga Mbwe (Botswana) in the CANEX Shorts Best Fiction category; We Shall Not Forget by Brian Obra (Kenya) in the CANEX Shorts Best Documentary category; and Room-5 by Francis Y. Brown (Ghana) in the CANEX Shorts Best Animation category.

“According to the jury, the quality of films submitted during CANEX WKND 2024 was exceptionally high, necessitating award of two Special Mentions: Vodoun Nouminssin and Rain Is Not the Cloud’s Last Parade,” the statement added.

CANEX at IATF2025, where the winners will be unveiled, would also provide a unique platform for nurturing business, investment opportunities, collaboration, partnerships and inspiration amongst the creatives fraternity across value chains of diverse creative and cultural industries from film, music, and fashion to culinary arts, sports, and visual arts amongst others.

The event participants will include creatives, policymakers, financial institutions, business and political leaders, development partners, thought leaders as well as some of the most respected names in the Creative and Cultural Industries from across the continent and the diaspora.

Highlighting the importance of the competition, Executive Vice President, Intra-African Trade and Export Development at Afreximbank, Mrs. Kanayo Awani  said: “Africa’s film industry, estimated at over $5 billion is thriving and brimming with untapped potential,” adding, “At Afreximbank, we are committed to unlocking this immense value by supporting platforms like CANEX Shorts that aim to propel African storytelling to the global stage. By investing in our creatives, we are not only creating jobs and economic opportunities; we’re actively ensuring Africa’s vibrant culture and talents gain global recognition.”


Kindly share this post

Dear Reader, Your support matters. But we believe that technology makes life more exciting and helps improve the lives of people around Nigeria and indeed the world. That is why, we have devoted our energy to independent reportage of technology and finance and how they affect lives. Our incisive and analytical view of how technology news affects the daily life help individuals and organizations make up their minds. Quality journalism costs money. Today, we're asking that you support us to do more. Kindly support our effort to deliver technology and finance journalism to everyone in the world. Donate as little as N1,000. Bank transfers can be made to: UBA Plc 1017156876 Communication Week Media Ltd

Broadcasting

NCC Blocks Piracy Sites as Nollywood Faces Rising Digital Theft

Published

on

Kindly share this post

Nigerian Copyright Commission (NCC) has called for urgent adoption of advanced digital protections after blocking seven piracy sites amid escalating online threats to Nollywood content.

NCC Blocks Piracy Sites as Nollywood Faces Rising Digital Theft

The call was made during a webinar hosted by Greychapel Legal titled “Clicks, Streams, and Copyright: Who Owns Nollywood’s Digital Future?”, which brought together filmmakers, regulators, entertainment lawyers and media strategists to examine how content ownership and copyright enforcement are being reshaped by the digital age.

Lynda Alphaeus, director and head of the NCC Lagos Office, said the Commission has intensified its efforts to combat piracy across digital channels and is upgrading its operations to meet emerging threats.

According to her, Nigeria’s new Copyright Act was deliberately updated to strengthen creators’ rights amid the explosion of online distribution.

“NCC has worked, and is still working tirelessly to adapt Nigeria’s legal framework to cope with digital distribution challenges. We now have the power to block networks publishing illegal content, and we have already blocked seven websites distributing pirated Nigerian works,” Alphaeus said.

She revealed that the Commission has established a special taskforce known as the STOP Unit to coordinate anti-piracy operations online, alongside new awareness campaigns targeting local markets and schools to educate content creators and the public on copyright obligations.

Alphaeus urged filmmakers and producers to take ownership of their digital safety by deploying available technological protections to safeguard their intellectual property.

She explained that tools such as encryption help prevent unauthorised copying, blockchain technology offers immutable proof of ownership, digital watermarking allows creators to trace illegal uploads, while cloud security and regular offline backups protect creative files before they reach the market.

While noting that copyright in Nigeria does not legally require registration, she stressed that registering one’s work strengthens protection and provides legal presumptions that can be vital in enforcement.

“Whatever you register is presumed to be yours until proven otherwise,” she said, urging creators to invest in copyright knowledge as part of their business strategy.

Other speakers at the webinar reinforced the urgency of protecting Nollywood’s digital assets.

James Omokwe, film director, noted that while streaming platforms have created unprecedented opportunities for visibility and monetisation, they have also opened new vectors for intellectual property theft and unauthorised redistribution.

Solafunmi Laelle, media strategist,  added that audience data, which streaming platforms rely heavily on, will increasingly determine leverage and value in film licensing negotiations.

According to her, creators who lose control of their intellectual property, whether through piracy or unfavourable contracts, also lose access to valuable data that could shape their long-term earnings.

Nky Ofeimun, entertainment lawyer, emphasised the need for creators to understand the contractual implications of ownership, platform exclusivity, and reversion rights.

She noted that many filmmakers still underestimate how quickly digital copies can be illegally duplicated or uploaded once control is lost.

The panelists agreed that as Nollywood deepens its digital footprint, piracy will continue to evolve and become more sophisticated.

They stressed that the industry must respond with equally sophisticated tools, stronger contract negotiation, and improved education around copyright.


Kindly share this post
Continue Reading

Broadcasting

Four Must-Watch African Films Debut Free on Glo TV

Published

on

Kindly share this post

Globacom, just introduced four brand new movies on its premium entertainment platform, Glo TV, and they are completely free for all subscribers. The company says the release marks another major step in its mission to enrich digital entertainment for millions of viewers across the country.

In a statement from Lagos on Wednesday, Globacom explained that the new titles feature some of Africa’s most celebrated actors and filmmakers, offering a colorful mix of romance, comedy, drama, culture, and emotional storytelling. The lineup includes Johnny Just Come (JJC), Eko Vibes, Bound, and Shifting Desire.

“Each of these movies was chosen to spotlight diverse African stories while delivering world class entertainment unavailable in cinemas, on YouTube, or on any other streaming service. Viewers do not need any subscription or extra payment. Access is completely free,” the company said.

Leading the pack is Shifting Desire, featuring Lilian Afegbai and veteran actor Majid Michel. The film is a gripping romantic drama that dives into marriage, intimacy, betrayal, healing, and the emotional journey of a couple using therapy to rebuild trust. Shifting Desire premiered on Glo TV on December 2 and is already streaming for free.

Johnny Just Come (JJC), starring Patience Ozokwor and Nancy Isime, delivers a hilarious cultural crossover story about an American man trying to navigate love and marriage in an African household. The movie explores themes of identity, family, culture, and coexistence in a warm and relatable way.

The third title, Bound, starring Rita Dominic and Eyinna Nwigwe, is a thought-provoking family drama that follows a successful career woman confronting long hidden personal struggles and the impact on her relationship. The film showcases powerful performances from some of Nollywood’s finest.

Rounding out the collection is Eko Vibes, featuring Broda Shaggi, Josh2Funny, and Nkechi Blessing. The movie captures the energy and hustle of Lagos youth culture, spotlighting ambition, humor, and the vibrant spirit of young people chasing success in the city.

Globacom noted that the new releases reinforce its commitment to delivering original African content at the highest quality. “With these exclusive titles, Glo TV is redefining digital entertainment in Nigeria by offering fresh, premium movies not available anywhere else. We remain committed to growing our catalog with rich African stories that celebrate creativity at its best,” the company added.


Kindly share this post
Continue Reading

Broadcasting

Young Africans Hit Hardest by Online Gender Violence, Paradigm Initiative Reports

Published

on

Kindly share this post

A new study, conducted by pan-African organisation, Paradigm Initiative (PIN), warns of an alarming surge in the prevalence of Technology-Facilitated Gender-Based violence, with 67 percent of respondents being victims of at least one or multiple forms of digital violence.

Young Africans Hit Hardest by Online Gender Violence, Paradigm Initiative Reports

Online

Released on International Human Rights Day, the research exposes deep systemic failures, weak accountability, and unsafe online spaces driving a rapidly escalating epidemic across Cameroon, Kenya, Nigeria, Senegal, Zambia, and Zimbabwe.

PIN recognises that this gap limits both the understanding of TFGBV and the development of effective solutions. In response, this study adopts a survivor-centred approach that reframes how TFGBV is researched, discussed, and addressed. By prioritising survivors’ perspectives, the research uncovers the emotional, social, and systemic dimensions of digital violence that formal reports and statistics often obscure. It also interrogates how survivors navigate reporting systems, access justice, and play an informed role in digital spaces that are frequently hostile or unsafe.

A key finding of the study is that young people are disproportionately affected, with those aged 18–34 constituting the vast majority of survivors. Most incidents of TFGBV occurred on Facebook, WhatsApp, and X (formerly Twitter), underscoring how mainstream social media platforms continue to function as structurally unsafe spaces for many users—particularly women, activists, and advocates.

“Victims’ experiences range from sexual harassment, threats, and misogynistic attacks to severe violations such as stalking, non-consensual image sharing, hacking, sextortion, and identity-based harassment,” the report notes. “Personal testimonies reveal profound emotional, psychological, and reputational harm.”

The study also highlights that formal systems such as the police, employers, and public institutions, remain underutilised, largely due to fear, mistrust, or an expectation of inaction. While the findings expose wide-ranging gaps across platforms, institutions, and legal frameworks, they also highlight survivors’ resilience and their continued efforts to seek safer digital environments.

In light of these findings, PIN calls for urgent action to make online spaces safer for everyone, in line with this year’s Human Rights Day theme, “Human Rights, our everyday essentials.” Addressing these systemic gaps is critical to advancing democratic engagement, promoting media pluralism, fostering digital inclusion, and achieving gender equality across Africa.


Kindly share this post
Continue Reading

Trending