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ADIFF 2025: Sana Na N’Hada Examines the Cost of Freedom and the Weight of Memory in “Nome”
African Projects Dominate at 2025 Red Sea Souk Awards + Full List of Winners
“Ojirami: The Weeping River” Review: Immigration, Myth, and Tragedy Swirl in a Play About the Potency of a Deity
Features & Essays
Securing 9 Gold Medals in the 2022 World Athletics Championship is a Good Step for Africans
Are Protests Still Effective in Causing Social Change in Today’s Society?
Donald Oghenechovwe Ekpeki is Charting New Courses in African Speculative Fiction
Tobi Amusan and the Journey to Becoming World Champion
Regular vs. Irregular Contestants; Do Big Brother Naija Fans Prefer the Eccentric?
How Active is Colourism in the Global Entertainment Industry?
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Film & TV
Moussa Sène Absa and the Trilogy that Redefines African Femininity in Film
Barnabas Emordi: Successive Steps Behind the Lens to Becoming Nollywood’s Highest-Grossing Cinematographer
“On The Edge” Review: Temitope Bolade-Akinbode’s Drama Highlights the Human Condition With Tragic Consequences
Orire Nwani’s “Love & Seclusion” Set for North American Premiere at New York University
Berlinale Talents: Esther Kemi Gbadamosi and Perivi John Katjavivi Selected as New Fellows for 2024 Mastercard Enablement Programme
“Hotel Labamba” Review: Biodun Stephen’s Comedy Thriller Offers Easy Laughs; Lighter On Substance
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Music
“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
Charles Onyeabor’s “Black or White” Inspires Global Unity Across Diverse Lines
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2025 AMVCA: How the Stars Lit up the Night With Style
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