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“MKO” Documentary Review: An Admissible Portrait of A Democratic Hero
“Agbara Nla: The Return” Is A Remake Driven by Faith and Nostalgia
In Conversation with Keith Shiri on Curating Film Africa 2026 and the Festival’s Women-Centred Programming
Features & Essays
International Day of the Girl Child 2022: 8 Young African Women Amplifying the Voice of the Girl Child
15 Emerging and Gifted Voices Amplifying African Literature Today
Do Women Have a Role to Play in the Popularity of Patriarchal Ideals?
Ten Socio-political Songs about Nigeria
Seven Talented Nollywood Actors on the Cusp of Stardom
Umu Obiligbo and the Igbo Music of Life
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Film & TV
10 African Movies to Watch for a Good Laugh
“A Danfo Christmas” Review: Sebastian Ukwa is Committed to Telling Heartfelt Stories
“On Becoming a Guinea Fowl” Review: Rungano Nyoni’s Award-Winning Sophomore Film Shatters Traditional Female Neglect
“Everybody Loves Jenifa” Review: Funke Akindele’s Latest Film Is a Worthy Addition to the ‘Jenifa’ Franchise
Afrocritik’s 25 Remarkable African Films of 2024
“Suspicion” Review: Tosin Igho Explores African Spirituality from an Intriguing Perspective
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Music
“King” Review: Jeriq Declares His Supremacy With New Album
Wonu Osikoya Documents Afrobeats History From a Fresh Perspective With “Grime, Glory & Afropop”
“No Love in Lagos” Review: Show Dem Camp, The Cavemen & Nsikak David Deliver a Masterful Blend of Highlife and Hip-Hop
“Purple Doesn’t Exist” Review: A-Q’s Experience Serves As The Backdrop For A Poetic Prowess
“Lungu Boy” Review: Asake’s Sonic Leap Stumbles on Thematic Cohesion
The Creative Pulse of Chike: An Artiste’s Narrative
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AMVCA 2026: The Best Celebrity Red Carpet Looks of the Night
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Met Gala 2026: How African Celebrities Showed Up on Fashion’s Biggest Stage
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2026 Grammy Awards: How African Celebrities Brought the Fashion Heat to the Red Carpet
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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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