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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
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
“Losing Lerato 2” Review: Zolani Phakade’s Sequel Is an Underwhelming Outing
“What About Us?” Review: Kayode Kasum’s Family Drama Drastically Fumbles its Third Act
“My Father’s Fable” Review: Faith Omole’s Theatre Show Is an Emotional Exploration Into Family Trauma and Nigerian Identity
“Onye Egwu” Review: The Uche Jombo-Directed Film is a Near Miss
“Lobola Man” Review: Thabang Moleya’s Romcom is a Breeding Ground of Cliches
Filmjoint: The Platform Promoting and Distributing Nigerian and International Short Films
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Music
“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
East Africa’s Altè Movement: A New Era of Hybrid Sound
Afrocritik’s 25 Emerging African Artistes Worth Listening To in 2025
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2025 AMVCA: How the Stars Lit up the Night With Style
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What Africa Wore to the Met Gala 2025: Fashion, Symbolism, and the Limits of Black Dandyism
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Bold, Regal, and Stylish: African Artistes at the 2025 Grammys
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10 African Fashion Events to Watch Out for in 2025
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