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Dika Ofoma’s “An Enugu Homecoming” to Premiere on 31st January
Olive Nwosu’s “Lady”, Will Niava’s “Jazz Infernal” Win Jury Awards at 2026 Sundance Film Festival
“How to Save a Drowning Man” | Poem by Jean Wathugu
Features & Essays
Regular vs. Irregular Contestants; Do Big Brother Naija Fans Prefer the Eccentric?
How Active is Colourism in the Global Entertainment Industry?
The Man of the Moment: Will Portable’s Eccentricity Be the End of His Music Career?
“Iyanu: Child of Wonder” HBO Adaptation: Nigeria’s Animation Industry, and the Nigerian Factor
Will the Virtual Culture be the Future Working Environment of Africa?
How Technology is Redefining the Work Culture in Africa
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Film & TV
“One Too Many” Review: “Sorrows, Sorrows, Prayers” for the Listless Moments in the Kayode Kasum-Directed Film
“It Blooms in June” Review: Korede Azeez’s Coming-of-Age Movie Needs to Come of Age
“Daydreamers” Review: Vincenzo Cavallo’s Film Explores the Dreams and Aspirations of Eastleigh’s Somali Immigrants
Film Festival Circuits, a New Frontier for Nigerian Indie Filmmakers?
Mati Diop’s Documentary, “Dahomey”, Wins Golden Bear for Best Film at the 74th Berlinale
Moussa Sène Absa and the Trilogy that Redefines African Femininity in Film
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Music
Charles Onyeabor’s “Black or White” Inspires Global Unity Across Diverse Lines
20 Emerging African Artistes Who Should Be on Your Radar
Tyla Cements Superstar Potential With Debut Album
“OG Unkle Killz” Review: Ikechukwu’s Latest Project is a Reverent Tribute to His Peak
Afrocritik Weekly Music Spotlight 2024: Week 8
Emeka Nwokedi: A Classical Music Conductor of International Repute
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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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What Africa Wore to the Met Gala 2025: Fashion, Symbolism, and the Limits of Black Dandyism
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Bold, Regal, and Stylish: African Artistes at the 2025 Grammys
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10 African Fashion Events to Watch Out for in 2025
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