Aminu Saira

By Hadiza Abdulkadir

Yunusa Mu’azu, a well-known actor and producer in the Kannywood film industry, has issued a public appeal for urgent financial support for popular actress Zee Diamond Talatuwa, fondly known by fans as Maman Bintalo from the hit television drama Labarina.

In a statement posted on his official Facebook page, Yunusa Mu’azu revealed that the actress is battling a serious and life-threatening medical condition involving blocked blood vessels and abnormally thick blood. According to medical reports shared in the post, the condition—linked to hereditary factors and allergies—has made even basic intravenous treatment difficult and places her at high risk of heart failure and kidney complications.

Doctors have reportedly advised that Zee Diamond must be taken abroad for specialized treatment, as the condition cannot be adequately managed locally. The total cost of the medical procedure and travel is estimated at ₦25 million.

Yunusa disclosed that members of the Kannywood community, alongside the actress’s relatives, have so far raised approximately ₦18 million, leaving a shortfall of ₦7 million. He added that medical experts have warned that the treatment must be carried out within the next two months, stressing that any delay could have fatal consequences.

The appeal has triggered renewed calls for support across social media, with colleagues, fans, and well-wishers urged to contribute toward closing the funding gap. The development has once again drawn attention to the health challenges faced by creative industry professionals and the strong culture of solidarity within the Hausa film industry.

In 2025, the Hausa film industry, popularly known as Kannywood, witnessed a clear shift, with series films completely overshadowing feature-length productions. Apart from Mansura Isa’s Faliha and Falisha, no major Kannywood movie was released in cinemas throughout the year. This is, of course, troubling, as series films alone do not define the strength and global reach of any serious film industry.

However, series films attract more audience commitment, offering extended runtimes, deeper character development, and closer engagement with social realities. They also give filmmakers and actors the room to explore complexity in ways feature-length films often cannot.

After following several Kannywood series throughout the year, six clearly stood out for viewership, audience engagement, and the level of conversation they generated. They are as follows:

1. Labarina (Season 14), 
2. Wata Shida, 
3. Garwashi, 
4. Jamilun Jidda, 
5. Zabi Biyu, and 
6. Taskar Kannywood (Da Na Sani)

The above series were considered for the year’s best performances. Nominees were first identified within each series, after which an overall winner was selected for each category based on consistency, depth of performance, narrative impact, and contribution to the series as a whole.

1. Best Actor of the Year 

Top Nominees:

1. Adam Garba (Abba Galadima in Labarina [season 14], and Sameer/Dahiru in Wata Shida)
2. Abubakar Waziri [Bado] (Malam Sani in Garwashi)
3. Ali Nuhu (Professor Nuri in Jamilun Jidda)
4. Yakubu Muhammad (Mudan in Garwashi)

Winner: Adam Garba (Abba Galadima in Labarina [S14], and Sameer/Dahiru in Wata Shida)

Adam Garba’s contributions to two of the top series clearly set him apart from other nominees. In Labarina (season 14), he delivers a calm, grounded performance as Prince Abba Galadima. However, his portrayal of Sameer/Dahiru in Wata Shida demands duality and emotional balance, all of which he handles with impressive control.

• Best Actress of the Year 

Top Nominees:

1. Fatima Abdulahi Washa (Sumayya in Labarina [Season 14])
2. Fatima Hussaini (Zahrah in Wata Shida, and Ruth/Fatima in Jamilun Jidda)
3. Fiddausi Yahaya (Ma’u in Garwashi, and Jidda in Jamilun Jidda)

Winner: Fatima Hussaini (Zahrah in Wata Shida, and Ruth/Fatima in Jamilun Jidda)

Although Fiddausi Yahaya left a strong impression as Ma’u in Garwashi and the title character in Jamilun Jidda, Fatima Hussaini maintains a stronger performance quality across different projects. The confidence she showed as Zahrah in Wata Shida, and her dual role in Jamilun Jidda prove her versatility, as she navigates contrasting identities effectively.

• Best Supporting Actor 

Top Nominees:

1. Rabi’u Rikadawa (Baba Dan Audu in Labarina [Season 14])
2. Kabiru Sani (Gaddafi in Garwashi)
3. Isah Feroz Khan (Kasim in Garwashi)

Winner: Kabiru Sani (Gaddafi in Garwashi)

Each of these actors delivered memorable supporting performances, but Kabiru Sani, alias International, stands out for the complexity and freshness he brought to the role of Gaddafi in Garwashi. The character is a blend of thuggery and humour. This combination could easily have messed up in less capable hands. However, Kabiru International plays it naturally. His performance felt confident and fully formed.

• Best Supporting Actress

Top Nominees:

1. Faiza Abdullahi (Lawisa in Garwashi)
2. Bikisu Safana (Shatty in Wata Shida)
3. Aisha Humaira (Samira in Garwashi)

Winner: Faiza Abdullahi (Lawisa in Garwashi)

The reason why Fa’iza Abdullahi wins is the way she adjusted her physicality, voice, and mannerisms to fit in the thuggish character of Lawisa in Garwashi. Her performance reminds you of Alia Bhatt’s finest performance in Gangubai Kathiawadi, which earned her the prestigious Indian National Film Award.

• Best Villain of the Year

Top Nominees:

1. Hauwa Farar Lema (Kilishi, Labarina [Season 14]) 
2. Balaraba Abdullahi (Baba Lami, Garwashi)
3. Magaji Mijinyawa (Kawu Nakowa, Wata Shida)

Winner: Hauwa Farar Lema (Kilishi, Labarina [S14])

Hauwa Farar Lema’s portrayal of Kilishi in Labarina (Season 14) stands out for her deep understanding of the character’s motivations and emotions. Her performance feels realistic. She looks fearsome and conveys the essence of her malicious character through threatening glances and expressions.

• Star of the Year

Winner: Fiddausi Yahaya (Ma’u in Garwashi and Jidda in Jamilun Jidda)

While some critics question her acting prowess, Fiddausi Yahaya is undoubtedly the star of the year. As a relatively new actress, she suddenly became a household name, gained a massive fan following, trended widely on social media, and began appearing in multiple big-budget projects such as Garwashi and Jamilun Jidda, among others. She is a subtle performer and has shown steady improvement in acting quality with every new role.

• Best Breakthrough Performance of the year

Winner: Amina Shehu [Lulu] (Samira in Da Na Sani)

A breakthrough performance is a role that elevates an actor’s visibility and reputation. This happens to Amina Shehu after delivering an intense and emotionally layered role of Samira, nicknamed Kwaila, in “Da Na Sani”, the seventh film from Taskar Kannywood collection. Da Na Sani became the most-reviewed film, and her performance in it was probably the most widely acclaimed of the year. 

• Most Promising Actor of the Year

Winner: Murtala Yahaya Musa Sarauta (Bello in Zabi Biyu)

Judging by how convincingly he handled the role of Bello in Zabi Biyu, only a few roles would truly challenge him. He may appear too mature and lack the conventional swagger of Kannywood heroes, but his acting skills are too solid to be overlooked. With the right story that suits his personality, Murtala is really an actor to watch.

• Most Promising Actress of the year

Winner: Hassana Ibrahim (Safiyya, Zabi Biyu)

The debutante Hassana Ibrahim demonstrates exceptional potential in her powerful lead performance in Zabi Biyu. She portrays emotional depth and control, particularly in scenes that require vulnerability and internal struggle. She has a commanding screen presence, delivers her dialogue effectively, and complements it with appropriate gestures

1.  Best Comic Performance

Winner: Isiyaka Jalingo (Zabi Biyu,and Garwashi)

Isiyaka Jalingo is not merely funny; he generates humour through behaviour and mannerisms while still serving the story. His roles are not designed solely for comic relief; instead, the humour emerges organically from the way he speaks and acts in every scene he features. His roles in Garwashi and Zabi Biyu, though small, leave a huge impact.

Written By

Habibu Maaruf Abdu

habibumaaruf11@gmail.com

By Muhammad Aminu

Directors in Kano-based Hausa film industry popularly known as Kannywood have reacted to the recent directive banning use of police kits in films by the NIgeria’s Inspector General of Police (IGP).

IGP Usman Baba, in a statement issued in Abuja earlier signed by the Police Spokesman, Olumuyiwa Adejobi, announced that filmmakers, comedians and skit makers have been banned from using police uniforms and other skits in their acts without explicit permission from the police as the law entails.

The Statement added that the actors stop portraying the Nigeria Police in badlight or ridiculing it in their activities.

A prominent director in Kannywood, Aminu Saira, told BBC Hausa that they will consider or study the directive if it is in line with the Nigeria’s laws they would comply with it.

Saira further said that if their findings reveal that they are not contravening any law of the land, they will join hands with Nollywood to challenge the directive in a court of law.

He said: “The Police and Filmmakers are all guided by NIgeria’s laws. All people residing in Nigeria must subject themselves to NIgeria’s laws.

“So, if NIgeria’s law prohibits use of police kits in films, we must abide by that, we must respect the law of the land. We have no alternative.

“But if the law doesn’t prohibit it, then we will do everything jointly with Nollywood to seek legal interpretation of the law whether or not police kits can be used.”

According to him, Kannywood has already been seeking permission on police-related scenes in their films from Kano State Commissioner of Police.

He said due to some incidents that happened in the past, they were ordered to seek for permission in any role relating to police in their films.

“Right now, there is a company that was certified by the Police which specializes in processing anything related to police such as guns, uniform etc. that would be used in films. You send the script to them and they will consider it and seek permission from the police,” the director added.

Another director, Aminu Bono, who said that there was little or no consultation from the IGP argued that it is globally not possible to restrict use of uniforms such as lawyers, soldiers or doctors’ by filmmakers because they are simply replicating realities of their respective societies.

He noted that in all their films, they acquire permit from the police.

“We in Kano State, there is a department that takes care of such things under Police Public Relations Officer (PPRO). The Police sometimes visit our shooting locations and guide us on how to do things related to police activities.

“We did films that affect the police directly where we used facilities of Kano Police Command Headquarters. In flms like ‘Kwana Casa’in and ‘Barazana’, we worked closely with the police.

He further revealed that the police have representation in Kano State Films Censorship Board where Kannywood films are sieved prior to their public debut.

He said that the IGP can still review this order with informed discussion with relevant stakeholders.