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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
Burna Boy’s MSG Performance, and the Gift That Keeps on Giving
Eight Female-devoted Blogs Owned by Women in Africa and the Diaspora
A Tribute to a Titan: Oba Lamidi Ọláyíwọlá Àtàndá Adéyẹmí (1938-2022)
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?
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Film & TV
“Breath of Life” Review: A Grand Story Tinged with Avoidable Flaws
“A Tribe Called Judah” Review: Funke Akindele’s Winning Streak is Crafting Engaging Family Dramas
10 Breakthrough African Films of 2023
“Blood Vessel” Review: Another Politically-Charged Film That Slips Into Inertia
12 African Series You May Have Missed in 2023
“Come With Me” Review: Simplicity Takes Centre Stage in Baaj Adebule’s Directorial Debut
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Music
The Rise of Arbantone: A New Stable Among Kenyan Music Genres?
“Once Upon A Cat” Review: Iyanya Struggles for Artistic Control on New LP
“Evil Twin” Is a Poignant Reminder of PsychoYP and Jeriq’s Insane Potential
Afrocritik Weekly Music Spotlight 2024: Week 3
Nigerian Music Luminary, Timaya, Releases New Single, “Dey Your Dey”
Joeboy Inks Dual Deal with Warner Music, Launches Young Legend Label
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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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