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“Readers Will Bring All Kinds of Meaning to Your Work”: Uche Okonkwo, In Conversation with Afrocritik
“Lagos Lover Boy” Review: Ric Hassani Crafts a Cohesive Portrait of Urban Romance
“Ms. Kanyin” Review: Jerry Ossaiʼs Wannabe Horror Flick is Forgettable
Features & Essays
Could AI Music Be the New Normal?
Has the “Great Nigerian Novel” Been Written?
From Amaka Igwe to Jade Osiberu, Nollywood Female Filmmakers Are the New King of Boys
Ranking Davido’s Albums through the Course of his Career
Forbes 30 under-30: True Cases of Young Achievers, or Simply “Brother Bernards?”
Jewelry and Ornaments: What is their Significance in African Culture?
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Film & TV
In Memory: 8 Memorable Roles by Amaechi Muonagor
Being a Creative Amidst Nigeria’s Economic Turbulence: How Nollywood Filmmakers are Cutting Costs
12 Films Selected for the Nollywood Week Film Festival
“In Bloom” Anthology Creators: In Conversation with the Changemakers Who Lend a Voice to Gender Equality
AMVCA10: 11 Select Reviews of Nominated Films
“Abomkhulu” Review: The Kganki Mphahlele-Directed Film is Fresh, Funny and Filled With Lessons
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Music
“DVNTE” Review: Rhatti’s Ingenious Fusion Project Is a Nostalgic Journey Through the 90s
“Mood 4 Life” Review: Victoria Kimani’s Album Is Just as Beautiful as It Is Layered
“Homeless” Review: Llona’s Debut Album Is Raw and Reflective
“Son of Chike” Review: Chike Hits the Perfect Trifecta With Third Album
“Are You Listening?” Review: Taves’ New Project is a Sonorous Blend of Emotions
“HEIS” Review: Rema’s Sophomore Album is a Radiant Emblem on Afro-Rave
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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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