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Durban FilmMart Institute Announces Participants for 18th Edition of Talents Durban
Who Wrote This? The Crisis of Criticism in the AI Era
Can AI Make Loan Applications Fairer in Africa?
Features & Essays
Seun Kuti Protests with His Fist and Voice; What Would Fela Have Done Differently?
The Saint We Called Obi: A Nostalgic Glance at the Calm-Faced Nollywood James Bond
Is Nigerian Literature Truly Dying?
The Legend of Power Mike: What Can Truly Be Known about Nigeria’s Famous Wrestler of the 20th Century?
Could AI Music Be the New Normal?
Has the “Great Nigerian Novel” Been Written?
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Interviews
Film & TV
“Dead of Night” Review: Chiemeka Osuagwu’s Horror Feature Serves Little Impactful Scares
“Grown” Review: Ola Jegede and Empress Allen’s Young-Adult Drama is Bereft of Introspective Moments
In Conversation: “I Want People to Know that Africa Has Real Filmmaking Talents”, Claire Diao, Film Critic and Founder of Sudu Connexion
Is This the Age of Nollywood at Domestic Box Office?
“Inkabi” Review: Michelle Tiren’s Performance is the Only Spark in Norman Maake’s Crime Thriller
In Conversation: Nollywood Film Editor, Martini Akande, Dissects the Anatomy of Editing a Memorable Scene
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Music
“À nu” Review: Karun’s New EP is a Lustrous Link-Up With Producer Duo, GR! & Hook
“Born in the Wild” Review: Tems’ Debut Album Is a Masterclass on Self-Discovery
Dizzy Mandjeku and the Odemba OK Allstars Pay Tribute to the Timeless Traditions of Congolese Rumba With “Odemba Nostalgie” EP
How Recent Afropop Projects Mark a Full-Circle Moment for Nigerian Music
In “Ogechi”, Brown Joel, Boypee, and Hyce Long For Affection
“The Year I Turned 21” Review: Ayra Starr’s Sophomore Project is her Sonic Autobiography
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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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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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