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What Exactly Is Happening to Nigerian Men’s Football?
BFI London Film Festival 2025: Susan Wokoma Interrogates British Educational System In Incisive Directorial Debut, “Dark Skin Bruises Differently”
“Katanga: The Dance of the Scorpions” Leads 2025 AMAA Nominations + Full List of Nominees
Features & Essays
Jewelry and Ornaments: What is their Significance in African Culture?
5 Festivals for African Filmmakers to Look out For
What is Bongo’s True Identity?
We Don’t Need New Names
Lafalaise Dion Is “Cowrying” through Fashion and Spirituality
Storyteller and Gentleman: What is the Measure of Mike Ejeagha’s Influence on Highlife Music in Nigeria?
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“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
Afrobeats’ Most Iconic Feuds Over the Years
“Morayo” Review: Wizkid Balances Grief and Groove on Sixth Album
“Sama” Review: Maua Sama’s EP Is the Sound of Self-Expression
10 Underrated African Music Projects of 2024
“Swangz All Star, Vol. 1” Review: Swangz Avenue’s Album Redefines Uganda and East Africa’s Place in Global Music
“Dutty Love” Review: Fave Captures the Paradoxes of Love In Sophomore EP
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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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