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NIFS Dispatch: 5 Key Takeaways from the 2025 Nigerian International Film Summit
Afrocritik Weekly Music Spotlight: Projects Galore
Nigerian-American Writer, Olufunke Grace Bankole, Wins 2025 Westport Prize for Literature
Features & Essays
Blogging is Playing a Big Role in the Spread of Fake News in Africa
Aside From Trend and Business, is There More to the “Period Package” Conversation?
Nudity in Nigerian Music Videos: A Simple, Growing Trend, Or an Absolute Necessity for Sales?
Young African Adults Are Now Choosing to Wait Longer Before Getting Married
Should African Artistes Begin To Look Beyond the Grammys?
Why South Africa is Attracting Foreign Filmmakers
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Interviews
Film & TV
Adeoluwa Owu’s “The Griot” is Simple and Soothing but Fails to Reach its Potential as an Epic
“The Woman King” Review: Revisionist History in an Otherwise Excellent Hollywood African Historical Epic
Ryan Coogler Shows Masterly Filmmaking in Marvel’s Newest Creation, “Black Panther: Wakanda Forever”
“Country Hard” Review: In Paul Utomi’s Crime Drama, Paths Cross, Lives Intertwine, and One Meeting can Change Everything
“Ẹlẹṣin Ọba” Review: Netflix’s “Death and the King’s Horseman” Adaptation Is a Play, Not Really a Film
“Becoming Abi” Review: Bolu Essien’s Office Space Dramedy is a Relatable Dreamy Story Where Love Meets Ambition
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Music
Afrocritik Weekly Music Spotlight 2024: Week 1
“Bboy Settingz” Review: Burukyln Boyz Reiterate the Kenyan Drill Rap Aesthetic
Ghanaian R&B Singer, Darkua, Releases New Single, “Say My Name”
What Will Shape Africa’s Music Landscape in 2024?
Omah Lay, Yemi Alade, Stonebwoy Announced As Performers for the All Africa Festival 2024
Libianca Legitimises Meteoric Rise With New “Walk Away” EP
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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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