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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
What We Speak Of When We Talk About Osita Osadebe and Highlife Music
The Ultimate Guide to Upcoming Afrobeats Festivals in 2023
Afrocritik’s Top 30 Songs in the First Half of 2023
African Animations Are Becoming a New, Exciting Frontier for African Storytelling
The 2023 Caine Prize Shortlist Leaves Bright and Dull Lights
Sondeka Awards: How Creatives Garage Continues to Empower Kenyan & African Creatives
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Film & TV
“A Ghetto Love Story” Review: Basketmouth’s First Foray Into Film Production Is Impressive
“Umjolo: The Gone Girl” Review: Fikile Mogodi’s Debut Feature Lacks Substance
“Loose Cannon” Review: Olisa Eloka’s Short Film Is a Reminder of War’s Devastating Consequences
“Hijack ‘93” Review: Robert O. Peters’ Thriller Fails to Take Flight
“At Ease” Review: Seun Richards’ Directorial Debut Is a Refreshing Take on War Trauma
“Inside Life” Review: Clarence Peters Explores Dark Realities at a High Emotional Cost
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Music
“Pawon Boy Vol 1 Deluxe” Review: Tml Vibez and DJ 4kerty Craft a Refreshing Take On Street-Pop
10 Tiwa Savage Songs That Crowned Her the Queen of Afrobeats
“Music In My Life” Review: Echo Deep Showcases His Expertise in Fourth Studio Album
“Agbalagbi” Review: OluwaMillar Navigates Life, Faith, and Fame on Debut EP
Top Predictions for Africa’s Music Landscape in 2025
Inside the Mercy Chinwo and EeZee Conceptz Fallout
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2025 AMVCA: How the Stars Lit up the Night With Style
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