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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
Attractive People are Having it Easier: Hello to Aesthetic Medicine?
“A Japa Tale” is Dika Ofoma’s Intriguing Exploration of Migration, Relationships, and Ambition
Are Creative Writing MFAs the New Reality for Contemporary African Writing?
How Africa is Turning Against People with Albinism
Don’t Sleep, Wake Up! How Afrobeats Motivates Listeners to Aspire for Success
Masquerades: Ancestral Spirits, a Dying Art, or Mere Entertainment?
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Film & TV
“Grown” Review: Ola Jegede and Empress Allen’s Young-Adult Drama is Bereft of Introspective Moments
In Conversation: “I Want People to Know that Africa Has Real Filmmaking Talents”, Claire Diao, Film Critic and Founder of Sudu Connexion
Is This the Age of Nollywood at Domestic Box Office?
“Inkabi” Review: Michelle Tiren’s Performance is the Only Spark in Norman Maake’s Crime Thriller
In Conversation: Nollywood Film Editor, Martini Akande, Dissects the Anatomy of Editing a Memorable Scene
“Japa!” Review: Isioma Osaje’s Speculative Debut Feature is Convoluted Beyond Genre Expectations
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Music
“Lungu Boy” Review: Asake’s Sonic Leap Stumbles on Thematic Cohesion
The Creative Pulse of Chike: An Artiste’s Narrative
The Power and Essence of Album Rollouts
“DVNTE” Review: Rhatti’s Ingenious Fusion Project Is a Nostalgic Journey Through the 90s
“Mood 4 Life” Review: Victoria Kimani’s Album Is Just as Beautiful as It Is Layered
“Homeless” Review: Llona’s Debut Album Is Raw and Reflective
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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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