NOSC INDUSTRY FORUM 2026 CALLS FOR GREATER INTENTIONALITY AND GLOBAL COMPETITIVENESS IN NIGERIAN CINEMA

NOSC INDUSTRY FORUM 2026 CALLS FOR GREATER INTENTIONALITY AND GLOBAL COMPETITIVENESS IN NIGERIAN CINEMA

Lagos, Nigeria, July 2, 2026 — The Nigerian Official Selection Committee (NOSC) convened filmmakers, producers, directors, writers, distributors, exhibitors, film institutions, government agencies, financiers, students, and other key industry stakeholders at the inaugural NOSC Industry Forum 2026, held at Filmhouse Cinemas, Landmark Centre, Victoria Island, Lagos.

Held under the theme, “FROM ELIGIBILITY TO COMPETITIVENESS: Building Nigerian Films for Global Recognition,” the forum was designed to deepen industry understanding of the International Feature Film category and encourage Nigerian filmmakers to think beyond simply meeting submission requirements towards developing films capable of competing at the highest international level.

Opening the forum, NOSC Chairperson Stephanie Linus said the conversation around international recognition must begin long before a film is completed.

“For many years, conversations around the Oscars have often centred on one question: ‘How do we submit a film?’ We must now begin asking a different question: ‘How do we create films that deserve to compete among the world’s very best?’ Submission is a process. Competitiveness is a commitment.”

In her keynote presentation, “The Road to International Feature Film Recognition,” Linus examined the eligibility requirements for the International Feature Film category, recent changes to the Academy rules, the two qualification pathways, language requirements, theatrical release, creative control, technical standards, and the critical difference between a film being eligible and being genuinely competitive.

The forum also featured selected film case studies, using internationally recognised films to examine storytelling, directorial vision, technical execution, cultural authenticity, festival strategy, and global positioning.

A panel titled “Lessons from the Journey” brought together filmmakers and industry professionals with direct experience of Nigeria’s International Feature Film journey. The conversation explored what happens after a film is selected, the challenges filmmakers encounter, lessons from previous campaigns, the importance of post-production, and what future entrants should begin doing differently.

Discussions throughout the forum highlighted the need for stronger script development, longer development timelines, world-class sound and post-production, professional subtitles, early festival planning, strategic international partnerships, sustainable financing, distribution, publicity, and properly resourced awards campaigns.

The forum also examined the role of international co-productions and creative control, with speakers stressing that foreign financing or foreign crew members do not automatically determine a film’s country of submission. Participants were encouraged to understand how production structures, creative leadership, rights, and decision-making can affect eligibility.

Members of the Nigerian Official Selection Committee also participated in a wider conversation on the selection process and the future of Nigeria’s International Feature Film journey. The discussion addressed what NOSC looks for, eligibility versus competitiveness, technical quality, the evolving international landscape, and the support systems required to help Nigerian films compete globally.

The forum concluded with a call for greater collaboration across the Nigerian film ecosystem.

“Nigeria does not lack talent or stories,” Linus said. “What we need now is greater intentionality, stronger development, technical excellence, strategic planning, and collaboration. The goal is not simply to submit a film. The goal is to build films that can stand confidently among the best in the world.”

The NOSC Industry Forum 2026 marks a broader commitment to industry education, dialogue, and the continued advancement of Nigerian cinema on the global stage.

About the Nigerian Official Selection Committee

The Nigerian Official Selection Committee (NOSC) is the Academy-approved committee responsible for selecting Nigeria’s official entry for consideration in the International Feature Film category.

For more information:

www.thenosc.org

Over 1, 426 Nigerian Movies Produced in 2021 and None Selected for the 94th Annual Academy Awards

Over 1, 426 Nigerian Movies Produced in 2021 and None Selected for the 94th Annual Academy Awards

The Nigerian Official Selection Committee (NOSC) for the Academy of Motion Pictures, Arts and Sciences (AMPAS) said entries submitted by Nigerian filmmakers did not meet the eligibility rules.

 "After a series of deliberations by the Committee members, we regret to announce that there won’t be submission of film to represent the country for the 94th Academy Awards. This is due to the fact that the films received so far for screening failed the eligibility rule test set by the Academy,” said the NOSC.

Once again, Nigerian filmmakers have disappointed Nigeria. From disqualification for failing to meet the eligibility criteria in 2019 to failing to make the short list for the nominations in 2020; Nigerian filmmakers continue lagging behind other African countries in competition for the most coveted awards for the best films in the world with Somalia and six other African countries on the final list of the official submissions for the Best International Feature Film of the 94th annual Academy Awards.

The following is the official final list.

ALBANIA – Two Lions Heading to Venice / Dy Luanë drejt Venecias (Jonid Jorgji)

ALGERIA – Héliopolis / (هليوبوليس) / (Haliyūbūlīs) (Djafar Gacem)

ARGENTINA – The Intruder / El Prófugo (Natalia Meta)

ARMENIA – Should the Wind Drop / Երբ որ քամին հանդարտվի / Si le vent tombe (Nora Martirosyan)

AUSTRALIA – When Pomegranates Howl (Granaz Moussavi)

AUSTRIA – Great Freedom / Große Freiheit (Sebastian Meise)

BANGLADESH – Rehana / রেহানা মরিয়ম নূর / Rehana Maryam Noor (Abdullah Mohammad Saad)

BELGIUM – Playground / Un monde (Laura Wandel)

BOLIVIA – The Great Movement / El Gran Movimiento (Kiro Russo)

BOSNIA AND HERZEGOVINA – The White Fortress / Tabija (Igor Drljaca)

BRAZIL – Private Desert / Deserto Particular (Aly Muritiba)

BULGARIA – Fear / Страх (Milko Lazarov)

CAMBODIA – White Building / ប៊ូឌីញ ស (Ivaylo Hristov)

CANADA – Drunken Birds / Les oiseaux ivres (Ivan Grbovic)

CHILE – White on White / Blanco en blanco (Theo Court)

COLOMBIA – Memoria (Apichatpong Weerasethakul)

COSTA RICA – Clara Sola (Nathalie Álvarez Mesén)

CROATIA – Tereza37 (Danilo Šerbedžija)

CZECH REPUBLIC – Zátopek (David Ondříček)

DENMARK – Flee / Flugt (Jonas Poher Rasmussen)

ECUADOR – Sumergible (Alfredo León León)

EGYPT – Souad / سعاد (Ayten Amin)

ESTONIA – On the Water / Vee peal (Peeter Simm)

FINLAND – Compartment No. 6 / Hytti nro 6 (Juho Kuosmanen)

FRANCE – Titane (Julia Ducournau)

GEORGIA – Brighton 4th / მეოთხე ბრაიტონი (Levan Koguashvili)

GERMANY – I’m Your Man / Ich bin dein Mensch (Maria Schrader)

GREECE – Digger (Georgis Grigorakis)

HONG KONG – Zero to Hero / 媽媽的神奇小子 (Jimmy Wan)

HUNGARY – Post Mortem (Péter Bergendy)

ICELAND – Lamb / Dýrið (Valdimar Jóhannsson)

INDIA – Pebbles / கூழாங்கல் / Koozhangal (P.S. Vinothraj)

INDONESIA – Yuni (Kamila Andini)

IRAN – A Hero / قهرمان (Asghar Farhadi)

IRELAND – Foscadh (Seán Breathnach)

ISRAEL – Let It Be Morning / ויהי בוקר, ليكن صباحا (Eran Kolirin)

ITALY – The Hand of God / È stata la mano di Dio (Paolo Sorrentino)

JAPAN – Drive My Car /ドライブ・マイ・カー / Doraibu mai kā (Ryusuke Hamaguchi)

KENYA – Mission to Rescue (Gilbert Lukalia)

KOSOVO – Hive / Zgjoi (Blerta Basholli)

KYRGYZSTAN – Shambala / Шамбала (Artykpai Suyundukov)

LATVIA – The Pit / Bedre (Dace Pūce)

LEBANON – Costa Brava, Lebanon / كوستابرافا (Mounia Akl)

LITHUANIA – The Jump / Šuolis (Giedrė Žickytė)

LUXEMBOURG – Io sto bene (Donato Rotunno)

MALAWI – Fatsani: A Tale of Survival (Gift Sukez Sukali)

MALAYSIA – Hail, Driver! / Prebet Sapu (Muzzamer Rahman)

MALTA – Luzzu (Alex Camilleri)

MEXICO – Prayers for the Stolen / Noche de fuego (Tatiana Huezo)

MONTENEGRO – After the Winter / Poslije zime (Ivan Bakrač)

MOROCCO – Casablanca Beats / علّي صوتك (Nabil Ayouch)

NETHERLANDS – Do Not Hesitate (Shariff Korver)

NORTH MACEDONIA – Sisterhood / Сестри (Sestri) (Dina Duma)

NORWAY – The Worst Person in the World / Verdens verste menneske (Joachim Trier)

PALESTINE – The Stranger / الغريب / Al Garib (Ameer Fakher Eldin)

PANAMA – Plaza Catedral (Abner Benaim)

PERU – Powerful Chief / Manco Cápac (Henry Vallejo)

POLAND – Leave No Traces / Żeby nie było śladów (Jan P. Matuszyński)

PORTUGAL – The Metamorphisis of Birds / A Metamorfose dos Pássaros (Catarina Vasconcelos)

ROMANIA – Bad Luck Banging or Loony Porn / Babardeală cu bucluc sau porno balamuc (Radu Jude)

RUSSIA – Unclenching the Fists / Разжимая кулаки / Razzhimaya kulaki (Kira Kovalenko)

SERBIA – Oasis / Оаза (Ivan Ikić)

SINGAPORE – Precious Is The Night / 今宵多珍重 (Wayne Peng)

SLOVAKIA – 107 Mothers / Cenzorka (Péter Kerekes)

SLOVENIA – Sanremo (Miroslav Mandić)

SOMALIA – The Gravedigger’s Wife (Khadar Ayderus Ahmed)

SOUTH KOREA – Escape from Mogadishu / 모가디슈 / Mogadisyu (Ryoo Seung-wan)

SPAIN – The Good Boss / El buen patrón (Fernando León de Aranoa)

SWEDEN – Tigers / Tigrar (Ronnie Sandahl)

SWITZERLAND – Olga (Elie Grappe)

TAIWAN – The Falls / 瀑布 (Chung Mong-hong)

THAILAND – The Medium / ร่างทรง / Rang Song (Banjong Pisanthanakun)

TUNISIA – Golden Butterfly / فرططو الذهب / Papillon d’Or (Abdelhamid Bouchnak)

TURKEY – Commitment Hasan / Bağlılık Hasan (Semih Kaplanoğlu)

UKRAINE – Bad Roads / Погані дороги / Plokhiye dorogi (Nataliia Vorozhbyt)

URUGUAY – The Broken Glass Theory / La teoría de los vidrios rotos (Diego Fernández)

VENEZUELA – The Inner Glow / Un destello interior (Andrés Eduardo Rodríguez, Luis Alejandro Rodríguez)

The most likely Nigerian film that would have been eligible is the historical epic, "Amina" by Izu Ojukwu, but it is in English and not in the Hausa language of the original story.

The fact that the great opportunity to produce "Queen Amina" in the Hausa language was missed by the producers is a big disappointment, because the film directed by Izu Ojukwu would have fulfilled the criteria for the eligibility and most likely make the short list of the nominations for the Best International Feature Film category. But the producers were more interested in fulfilling the eligibility for Netflix than the eligibility for the Academy Awards.

Having a movie on Netflix is now the most coveted thing for majority of Nigerian filmmakers and not the qualifications for the Academy Awards, Cannes Film Festival, Venice Film Festival, Toronto International Film Festival and Berlin Film Festival.

They celebrate making it to Netflix like winning a million dollar lottery.

But Netflix pays more for the movies of South African, American, European, Asian and Arabian filmmakers than Nigerian filmmakers, because they know that there is a surplus of Nigerian movies selling cheap with their lower budgets and lower standards of filmmaking.

The producers of "Amina" were grinning excitedly like children who have been given Christmas presents in November before the Christmas day comes up in December while their fellow African filmmakers were competing and winning highly esteemed awards at the 27th biennial FESPACO in Ouagadougou, Burkina Faso and fulfilling the eligibility criteria for the Best International Feature Film category of the 94th annual Academy Awards.

I congratulated the producers of "Amina", to commend their efforts, but majority of the critics said the film on the legendary Warrior,  Queen Amina of Zazzau in northern Nigeria should have been in Hausa language and subtitled in English. Yes. And that means the real historical film on Queen Amina has not been done.

I prefer that the film should feature the best actors in Kannywood, the Hausa language sector of the Nigerian film industry. And it should be a national film project of the Nigerian Film Corporation (NFC) which is part of the statutory functions and should be in the priorities of the Steering Committee for the Reform and Commercialisation of the Corporation.

The 94th annual Academy Awards of the Academy of Motion Picture Arts and Sciences (AMPAS), will honor the best films released since March 1, 2021, and is scheduled to take place at the Dolby Theatre in Hollywood, Los Angeles, California on March 27, 2022.

- By EKENYERENGOZI Michael Chima,

Publisher/Editor,

NOLLYWOOD MIRROR®Series 

247 Nigeria (@247nigeria) / Twitter https://mobile.twitter.com/247nigeria

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