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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
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
What Happens When Social Media Becomes the First Resort in Emergencies?
African Feminine Identity, and the Recent Rise of the Afro Hair Culture
Ibadan: The Cultural Stalk of Literature in Nigeria
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Film & TV
“Nganù” Review: Kang Quintus’ Film is an Audacious Exploration of Trauma and Redemption
“The Origin: Madam Koi Koi” Review: Jay Franklyn Jituboh-Directed Flick Reiterates Nollywood’s Challenge with Handling Sensitive Subjects
“Adire” Review: Is Admirable Acting Enough to Carry a Story?
“Big Love” Review: There Are Little Emotional Tethers in Biodun Stephen’s Romcom
“Ijogbon” Review: The Kunle Afolayan Directed-Film is Relatable But Lacks Attention to Detail
“She Must Be Obeyed” Review: Could the Funke Akindele-Directed Series be Hinting at a Much-Needed Creative Break for the Filmmaker?
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Music
“We Cut Keys 2” Review: Blinky Bill Returns With a Sonorous And Genre-Bending New Album
“The Chorus Leader” Review: Timi Dakolo is Bold and Bare on New Album
DUST Review: Priddy Ugly Takes an Emphatic Bow on Final Album
Afrocritik Weekly Music Spotlight 2024: Week 2
“Dem Mauru” Review: Maandy’s New EP Attest to Her Hard Work and Sensitivity
“Let’s Start A Riot” Review: La Même Gang Returns With a Decent 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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10 African Fashion Events to Watch Out for in 2025
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