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“The Torcher” Review: Stonebwoy Proves His Pedigree on New Album
TIFF 2025: In Conversation With the Cast and Crew of “Nomad Shadow”
“This Is Not a Burial, It’s a Resurrection” Review: Lemohang Jeremiah Mosese Crafts a Poetic Resistance
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?
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Burna Boy’s “Big 7” and Forthcoming “I Told Them” Album Herald a New Exciting Chapter in His Artistic Journey
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IDFA 2024: Spotlight on Selected African Documentaries
Nigeria Cinema Day and the Marketing Hurdles Holding Back Nollywood
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“Tòkunbọ̀” Review: Ramsey Nouah’s Film Exposes Nollywood’s Storytelling Flaws
“Family Vacation” Review: Voline Ogutu’s Feature Film Unpacks the Facade of Social Media Perfection
“With Difficulty Comes Ease” Review: Korede Azeez’s Film Is a Masterful Blend of Art and Heart
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Music
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
“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
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2025 AMVCA: How the Stars Lit up the Night With Style
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