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Why Are East Africa’s Best Athletes Competing for Other Countries?
Can African Proptech Startups Build Trust in a Skeptical Market?
Nollywood at Cannes 2025: Filmhouse Group Joins NIFS to Discuss Nollywood’s Global Future
Features & Essays
Should African Women Still be Ashamed of Their Stretch Marks?
With Polycystic Ovary Syndrome Largely Under-researched, African Women Are Now Raising Veils
The Importance of Literature in Nollywood, Adaptations, and the Need to Make More Artistic Movies
Recognising Outstanding Achievements in Music: A Case for Film Music Categories in African Music Awards
Are African Women Doing Away with the Conservatism Behind Pregnancy Concealing?
Dear Nigerians, It is Time to Revive the Hip-Hop Culture
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Film & TV
“Anikulapo” Review: Kunle Afolayan’s Latest Masterpiece is an Hour Too Long for the Unsatisfactory Act it Delivers
“Aloe Vera” Review: Love Conquers All Hate in Peter Sedufia’s Fantasy awesome Drama
“Symphony” Review: In This Nollywood Film Depicting Police Brutality, Music is the Extra Spice
The “Set Up 2” Review: Chinaza Onuzo’s Latest Release Focuses on Aesthetics and Lacks Depth and Clarity
“Collision Course” Review: Bolanle Austen-Peters Makes a Social Commentary on Police Brutality. But to What End?
“The Milkmaid” Review: Desmond Ovbiagele’s Femicentric Terrorism-Themed Feature Is a Nollywood Revelation
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Music
“I Love It Here” Review: Nasty C Revels in His Growth on New Album
“Solomon” Review: Cassper Nyovest Harps on Self-Aggrandisement on New Album
“In Case I Never Love Again” Review: Oladapo Offers a Gripping Comeback on Debut Album
“Life Is Better Now” Review: Nana Fofie Tells an Emotive Story With Her EP
In Memory of Imole: A 10-Track Mohbad Playlist You Should Listen To
“RU The World” Review: Ruger’s Sugary Debut Album Promises a Gratifying Experience But Nothing More
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2025 AMVCA: How the Stars Lit up the Night With Style
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What Africa Wore to the Met Gala 2025: Fashion, Symbolism, and the Limits of Black Dandyism
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10 African Fashion Events to Watch Out for in 2025
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