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How Geoblocking and Cinema Scheduling Bias Undermine Distribution in Nollywood
“Little Rot” Review: Akwaeke Emezi’s Novel Confronts The Performance of Morality
“My Mother Is a Witch” Review: Niyi Akinmolayan Explores Intergenerational Trauma in Provocative Drama
Features & Essays
Are African Literary Magazines Moving in the Right Direction?
“Like and Follow:” Why Do Numbers Matter on Obasanjo’s Internet?
Celestine Ukwu’s Musical Philosophy: Is This the Sweet Spot of Highlife?
Has the INEC Fufilled All Its Promises?
Do Africans Need White Weddings?
Is the Igbo Apprenticeship System Alive and Well?
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Interviews
Film & TV
“Daydreamers” Review: Vincenzo Cavallo’s Film Explores the Dreams and Aspirations of Eastleigh’s Somali Immigrants
Film Festival Circuits, a New Frontier for Nigerian Indie Filmmakers?
Mati Diop’s Documentary, “Dahomey”, Wins Golden Bear for Best Film at the 74th Berlinale
Moussa Sène Absa and the Trilogy that Redefines African Femininity in Film
Barnabas Emordi: Successive Steps Behind the Lens to Becoming Nollywood’s Highest-Grossing Cinematographer
“On The Edge” Review: Temitope Bolade-Akinbode’s Drama Highlights the Human Condition With Tragic Consequences
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Music
Understanding Music Marketing Beyond Publicity Stunts: A Guide for African Artistes
10 Urban Music Genres Unique to East Africa
Aniela Makes A Brazen Debut With “Magic”
“No Overthinking” Review: Savara’s New Album is a Well-Crafted Collection
“Bad Boy Etiquette 102” Review: Ajebo Hustlers Unpack the Human Condition on New Project
“Mombasa’s Lover Boy” Review: Caleb Awiti Delivers Another Slow Jam LP
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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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10 African Fashion Events to Watch Out for in 2025
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