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Documentary Spotlight: “Fantastique”
Locarno Film Festival Open Doors 2026 Unveils African Selection
“Ọ̀kànjúwà” Review: Inkblot and FilmOne Throw a Mediocre Party with Elementary Moral Lessons
Features & Essays
Masquerades: Ancestral Spirits, a Dying Art, or Mere Entertainment?
African Gospel Artistes May Have Found the Springboard to World Domination
“Na God Go Punish Una!” Concert Culture in Nigeria is a Slippery Slope for the Progress of Nigerian Entertainment
The Female Camus | Abigail George
Is There Truly ‘No Big Deal’ in the Sarkodie-Nasty C Feud?
15 Things To Know About Chimamanda Ngozi Adichie’s Chieftaincy Title
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Film & TV
“Inside Life” Review: Clarence Peters Explores Dark Realities at a High Emotional Cost
10 Films That Have Shaped Nollywood
“Other Side of History” Review: Chukwuemeka Odumegwu Ojukwu’s Biopic Is Narratively Flawed
“Death of a Saint” Review: Patricia Bbaale Bandak’s Documentary Navigates the Intersection of Life and Loss
Top 25 Iconic and Must-Watch East African Movies
Technical Excellence Saves “Farmer’s Bride” From an Uneven Script
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Music
Top 10 Conscious Songs from East Africa
15 Best Conscious Songs From Nigeria
“Sui Generis” Review: Reminisce’s New EP Is a Gritty Fusion of Indigenous Rap and Fuji Rhythms
“OFA” Review: Oxlade’s Emotional Range Shines in His Debut Album
“Starter” Review: Ali Kiba’s EP Is a Nod to Bongo Flava’s Foundational Soundscapes
“Love/Hate Pt 2” Review: Xenia Manasseh’s Sophomore Album Is Proof of an Artistic Refinement
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AMVCA 2026: The Best Celebrity Red Carpet Looks of the Night
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Met Gala 2026: How African Celebrities Showed Up on Fashion’s Biggest Stage
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2026 Grammy Awards: How African Celebrities Brought the Fashion Heat to the Red Carpet
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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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