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Durban FilmMart Institute Opens Applications for 5th Edition of DFMI Business Lab
Has the African Football League Gone Ghost?
“Thato Ya Modimo” Review: Kelvin Momo Cements His Legacy on Sprawling Album
Features & Essays
What is Fela’s True Legacy?
Branding Beyond Stories: Blessing Abeng is on a Journey to Empowering Africa’s Tech Talents
Ten Love Songs to Binge on this Valentine
What More Do We Really Need to Know About Mammy Water?
Can Artificial Intelligence Change the Face of Africa?
Why Do Women Bear the Major Burden of Infertility?
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Interviews
Film & TV
“The Counsellor” Review: Muyiwa Aluko’s Rom-Com Has Too Many Bullet Points and No Jokes
“Orisa” Review: Odunlade Adekola’s Historical Picture Eschews Realism for Theatrics But Doesn’t Quite Stick the Landing
“Dinner” Review: Jay Franklyn Jituboh’s Romantic Thriller Misreads Its Premise of Feminine Infidelity
“Soon Comes Night” Review: In This South African Crime Drama, There Are No Heroes
2024 Pan African Film & Arts Festival (PAFF) Kicks Off on Feb 6
The Nollywood Mystery Thriller: Sometimes It’s Elementary, and Sometimes There’s None
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Music
Mara: What to Know About the Viral Hyper-Fast and Energetic Sound
“Love Language” Review: Fancy Fingers’ Album is an Ode to Africa’s Female Vocalists
“Better Days” Review: Candy Bleakz Delivers an Impressive Sophomore Project
“Love Lust” Review: Funbi Journeys Through Love and Longing on New EP
Afrocritik Weekly Music Spotlight 2024: Week 8
Ugoccie Delves into Highlife in New EP, “Voice of the East”
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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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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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