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“Dust to Dreams” Review: Idris Elba and Mo Abudu Collaborate on a Short Film That Squanders Its Fortunes
“Milisuthando” Review: Bongela-Davis’ Film Places the Nation in the Mirror of a Single Life
Anna-Karin Karlsson Brings Couture Eyewear Spectacle to Lagos in Cabaret-Inspired Showcase
Features & Essays
Chick Lit Offers More Than It is Credited For, Beyond the Romance, Heartstrings, and Laughter
The Rise of Populist Rhetoric in Africa: Who Does the Voice of the People Really Benefit?
Kikuyu Benga Music: How an Appropriated Sound Became a People’s Way of Connecting With Their Root
Opinion: What, Truly, Is the Substance of Afrobeats Music?
Towards a Better Understanding of the Igbo Identity
Burna Boy’s “Big 7” and Forthcoming “I Told Them” Album Herald a New Exciting Chapter in His Artistic Journey
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Film & TV
“On Becoming a Guinea Fowl” Review: Rungano Nyoni’s Award-Winning Sophomore Film Shatters Traditional Female Neglect
“Everybody Loves Jenifa” Review: Funke Akindele’s Latest Film Is a Worthy Addition to the ‘Jenifa’ Franchise
Afrocritik’s 25 Remarkable African Films of 2024
“Suspicion” Review: Tosin Igho Explores African Spirituality from an Intriguing Perspective
10 African Movies You Can’t Miss This Holiday Season
All You Need to Know about “77: The FESTAC Conspiracy”
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Music
“Don’t Hold Me Back” Review: Liya’s Strength Shines in New EP
BoyPee, Hyce & Brown Joel Find Their Rhythm on “Synergy”
In Conversation: OluwaMillar Talks “Agbalagbi”, Creativity, and Breaking Barriers
“Black and White” Review: Terry Apala’s New Project Stretches Apala’s Sonic Possibilities
Afrocritik’s Monthly Music Spotlight: January 2025
“I am the Blueprint” Review: Qing Madi’s Debut Album Explores R&B With Room to Grow
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