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Fatimah Binta Gimsay’s Young Adult Film, “Lowkey Adults”, to Premiere 12th July
“GE3 (The Beginning)” Review: A-Q Closes His Trilogy With Precision and Purpose
Documentary Spotlight: “The Bandit Warlords of Zamfara”
Features & Essays
Highlights from the 16th Edition of the Headies Awards
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
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Film & TV
“Kill Boro” Review: Courage Obayuwana’s Debut Feature Leaves A Lasting Impression
Why Copyright Protection Matters For The Future of Nollywood
“Funmilayo Ransome-Kuti” Review: Bolanle Austen-Peters Skillfully Conveys a Political Treatise in This Biopic
“UNO (The F in Family)” Review: Ebuka Njoku’s Sophomore Feature is Endearing, But Does It Triumph?
A Brief History on the Visual Language of Sex in Cinema
AMVCA 2024: The Year the Award Ceremony Attempted to Get It Right
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Music
Top 10 Conscious Songs from East Africa
15 Best Conscious Songs From Nigeria
“Sui Generis” Review: Reminisce’s New EP Is a Gritty Fusion of Indigenous Rap and Fuji Rhythms
“OFA” Review: Oxlade’s Emotional Range Shines in His Debut Album
“Starter” Review: Ali Kiba’s EP Is a Nod to Bongo Flava’s Foundational Soundscapes
“Love/Hate Pt 2” Review: Xenia Manasseh’s Sophomore Album Is Proof of an Artistic Refinement
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2025 AMVCA: How the Stars Lit up the Night With Style
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10 Celebrities Who Slayed the 2025 AMVCA Cultural Day
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What Africa Wore to the Met Gala 2025: Fashion, Symbolism, and the Limits of Black Dandyism
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10 African Fashion Events to Watch Out for in 2025
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