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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
How Tightly is Africa Embracing This Era of Fashion Fluidity?
Billboard’s US Afrobeats Chart: Is There Anything to Be Thankful For?
Five West African Women Folk Musicians That Might Just be Worth Knowing
The Hyena Men of Nigeria: A Threat to Nature and Human Life?
Nollywood’s Sexist Tropes and the Stereotypical Portrayal of Women in Contemporary Nigerian Movies
Why Do People Still Fall Prey to Ponzi Schemes Amidst Warning Signs?
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IIFF 2023 Dispatch: Universal Stories that Address Real People Grappling Societal Problems
Moses Olaiya’s “Mosebolatan” Heralded an Age for Comedy in the Nigerian Film Industry
“The Black Book” Review: The Editi Effiong-Directed Film Is a Reflection of Nigeria’s Socio-Political Realities
“Mami Wata” Review: The C.J. “Fiery” Obasi-Directed Drama is Bold, Beautiful, and Makes a Political Statement
“A Young Time Ago” Review: Subtle but Visible Misogyny Takes Front Row in the Tolu Lordtanner-Directed Drama
“Can You See Us?” Review: This Stereotype-Defying Zambian Netflix Debut about Albinism is Elevated by Impressive Acting
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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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