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Nigerian Writers, Rogba Payne and Wole Talabi, Named Finalists for Inaugural Aldiss Award
Entertainment Week Africa Relaunches with Pan-African Vision
Documentary Spotlight: “Journey of the Beats”
Features & Essays
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?
The S16 Collective: Who are These Nollywood Indie Filmmakers?
Attractive People are Having it Easier: Hello to Aesthetic Medicine?
“A Japa Tale” is Dika Ofoma’s Intriguing Exploration of Migration, Relationships, and Ambition
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Interviews
Film & TV
“The Fisherman’s Diary” Review: Enah Johnscott’s Film Advocates for Gender Inclusion in Education
Filmmaker, Gelax Bolaji’s Documentary, “Silent Tumors”, Spotlights the Silence Struggles of Women with Fibroids in Nigeria
Curtain Call for Mr Ibu: A Veteran Actor Who Created a World Full of Cheer
Kunle Afolayan’s “Aníkúlápó: Rise of the Spectre” is a Wobbling Cinematic Outing
“A Green Fever” Review: Taiwo Egunjobi’s Historical Suspense Thriller is Incoherent and Corny, Yet Commendable
“One Too Many” Review: “Sorrows, Sorrows, Prayers” for the Listless Moments in the Kayode Kasum-Directed Film
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Music
“Lost and Found” Review: Simi Reaffirms Her Spot as a Modern African Ballads’ Connoisseur
“Pheelz Good II” Review: Pheelz Basks in Creativity With His Latest Project
In Conversation: How Kaycee Brown Is Embracing His Identity Through Music
“Mbuzi” Review: Young Lunya’s Debut Album is a Reiteration of His Storytelling Prowess
“Ikigai” Review: Olamide’s New EP Expands His Cultural Cachet
Afrocritik’s Top 30 African Songs in the First Half of 2024
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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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