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NIFS Dispatch: 5 Key Takeaways from the 2025 Nigerian International Film Summit
Afrocritik Weekly Music Spotlight: Projects Galore
Nigerian-American Writer, Olufunke Grace Bankole, Wins 2025 Westport Prize for Literature
Features & Essays
A Brief Commentary on the 15th Headies Awards
Healthcare Influencers Are Shaping the Face of Digital Health Practice in Africa
Bnxn Vs Ruger, Who Takes the Lead So Far?
What Exactly is the Consequence of Internet Cancel Culture?
Onyeka Nwelue is Providing a New Way of Seeing and Extending Legacies
Nollywood’s Takeover in the Forthcoming 2023 Elections: A Possible Political Revolution, or Not?
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Interviews
Film & TV
“Nganù” Review: Kang Quintus’ Film is an Audacious Exploration of Trauma and Redemption
“The Origin: Madam Koi Koi” Review: Jay Franklyn Jituboh-Directed Flick Reiterates Nollywood’s Challenge with Handling Sensitive Subjects
“Adire” Review: Is Admirable Acting Enough to Carry a Story?
“Big Love” Review: There Are Little Emotional Tethers in Biodun Stephen’s Romcom
“Ijogbon” Review: The Kunle Afolayan Directed-Film is Relatable But Lacks Attention to Detail
“She Must Be Obeyed” Review: Could the Funke Akindele-Directed Series be Hinting at a Much-Needed Creative Break for the Filmmaker?
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Music
“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”
“Rhymebook Ya Nutcase” Review: King Kaka Takes a Trip Down Nostalgia Lane
“Realness Over Hype” Review: Victor AD Reinforces Himself as a Sonic Conveyor of Hope
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2025 AMVCA: How the Stars Lit up the Night With Style
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10 Celebrities Who Slayed the 2025 AMVCA Cultural Day
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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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