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Nairobi LitFest 2025: NBO Explores The Countercurrents of Knowing
“The Parlour Wife” Review: Foluso Agbaje’s Novel Is a Vital Contribution to Historical Fiction
“Readers Will Bring All Kinds of Meaning to Your Work”: Uche Okonkwo, In Conversation with Afrocritik
Features & Essays
Do Africans Need White Weddings?
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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
Orire Nwani’s “Love & Seclusion” Set for North American Premiere at New York University
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Music
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Tiwa Savage’s Soundtrack Project, “Water & Garri”, is a Nod to Her Musical Prowess
In Conversation: Aisosa is Nigeria’s Newest Lover Boy and R&B Champion
“Therapy” Review: Jay Melody Taps Into Bongo Flava’s RnB Influences And Excels In His Debut Album
“R2 Sept 12” Review: Bella Shmurda Navigates Loss and Resilience on His Latest Project
“Nyumbani” Review: Ally Fresh and Mura K.E Curate a Distinct Kenyan Musical Identity with New EP
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2025 AMVCA: How the Stars Lit up the Night With Style
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