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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
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
Are Millennial African Parents Less of a Pain than Generation X Parents?
Ten Musicians from Southeastern Nigeria to Watch out For
Ten African Hairstyles That Made a Big Comeback to the World’s Fashion Industry
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Film & TV
African Cinema on the Rise: 13 African Titles Gracing the 74th Berlinale
AMVCA Gears Up for Its 10th Edition, Calls for Submissions
FESPACO: An Enduring Role in Promoting African Cinema
“A Weekend to Forget” Review: Damola Ademola’s Entertaining Mystery Confounds Itself
“WAR: Wrath and Revenge” Review: A Simplistic Foray into Machiavellian Intrigue
“Classified” Review: Kagiso Lediga’s Young-Adult Venture Falls Short of Originality
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Music
“Drop 7” Is Little Simz’s Experimental Self-Coronation
Afrocritik Weekly Music Spotlight 2024: Week 5
“This Is Me (Live)” Review: Frida Amani Presents a Resounding Bongo Rap EP
Logos Olori’s Enjoyable Self-Titled Debut EP is Undercut by Bland Lyricism and Delivery
An African Love Songs Playlist for Valentine’s Day
Afrocritik Weekly Music Spotlight 2024: Week 4
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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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