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“Katanga: The Dance of the Scorpions” Leads 2025 AMAA Nominations + Full List of Nominees
Afrocritik Weekly Music Spotlight: Mega Catch-Up
Oyin Olugbile Wins 2025 Nigeria Prize for Literature With “Sanya”
Features & Essays
The Nigerian Comedy Industry is in Need of Structure and International Exposure
Abortion Ban, and the Fate of African Women in the US
Despite Strict International Laws, Challenges Abroad, Young Africans are Still Crossing Borders
Tems’ BET Win is a Glimpse into the Future of African Music, and African Women in Music
Is the New Wave of the Corset Changing the Way Women View Their Bodies?
Reconciling the Loss of the Mother Tongue, and Learning to Speak It Again
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Film & TV
“Can You See Us?” Review: This Stereotype-Defying Zambian Netflix Debut about Albinism is Elevated by Impressive Acting
“Love, Sex and 30 Candles” Review: The Feminist Undertone in Stephania Zwane-Directed Film is Its Saving Grace
“The One for Sarah” Review: The Lyndsey Efejuku-Directed Film Audaciously Traverses Romance and Domestic Violence
“Jagun Jagun” Review: The Femi Adebayo-Produced Action-packed Yoruba Epic is Impressive but Forgettable
“Big Nunu’s Little Heist” Review: Andy Krasil’s-Directed Fast-Paced Comedy is a Memorable Watch
“Republic of South Ah SH**t” Review: Once Again, Kagiso Lediga-Directed Film Reiterates His Artistic Depth
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Music
Director Pink: Standing Out as a Music Video Director in a Crowded Music Industry
All the Fuss About Afrobeats, Its “Way-Pavers” and Frontliners
“Loveless” EP Review: Lojay and JAE5 Take a Roller-Coaster Ride Through Modern Romance
“Public Notice” Review: Bowman Aremwaki Proves His Capability as a Solo Artiste
Kizz Daniel Retains Similar Elements on “TZA” EP
These Trailblazers are Shaping the Industry for Female Music Producers in Africa
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2025 AMVCA: How the Stars Lit up the Night With Style
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