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The Will to Leave and Live: A Review of Emmanuel Eruemulor’s “Unwanted”
Lights, Camera, Africa! Returns to Lagos After Six Years With “Convivium: In Gathering”
Sundance Institute Names Rami Jarboui Among 2026 Documentary Fund Grantees
Features & Essays
The Story, Politics, Reactions Trailing Nigerian ‘Professor’ Onyeka Nwelue
What is Humanity’s Fuss about Strongmen?
These 5 Nigerian Skit Makers are Blurring the Lines between Comedy & Music
Are African Literary Magazines Moving in the Right Direction?
“Like and Follow:” Why Do Numbers Matter on Obasanjo’s Internet?
Celestine Ukwu’s Musical Philosophy: Is This the Sweet Spot of Highlife?
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Film & TV
“Landline” Review: Dele Doherty’s Debut Feature Is Held Back by Its Own Ambition
“Meet the Khumalos” Review: Will South African Cinema Ever Move Beyond Forbidden Love Tropes?
“Radio Voice” Review: Strong Performances and a Human Story Ground Isioma Osaje’s Warm Drama
“Family Brouhaha” Review: Femi Adebayo’s Solo Debut Is a Dysfunctional Film About a Dysfunctional Family
“A Lagos Love Story” Review: Where’s the Love in This Inkblot’s Romance Drama?
“Recall” Review: Kunle Afolayan’s Return to the Big Screens Is Largely Forgettable
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Music
“Pawon Boy Vol 1 Deluxe” Review: Tml Vibez and DJ 4kerty Craft a Refreshing Take On Street-Pop
10 Tiwa Savage Songs That Crowned Her the Queen of Afrobeats
“Music In My Life” Review: Echo Deep Showcases His Expertise in Fourth Studio Album
“Agbalagbi” Review: OluwaMillar Navigates Life, Faith, and Fame on Debut EP
Top Predictions for Africa’s Music Landscape in 2025
Inside the Mercy Chinwo and EeZee Conceptz Fallout
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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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