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Afrocritik Announces Key Editorial Promotions
In Conversation: oSHAMO Talks Fuji, Self-Discovery, and What’s Next
How Visa Denials Are Costing African Film Professionals More Than Just a Trip
Features & Essays
Beyond a Name Change, the Need for a Full Nigerian Prison Reform
Scores and Original Soundtracks: Nollywood’s Untapped Goldmine?
Weighing the Cost of Gambling in Africa: Sports Betting in Nigeria
Eight African Women Filmmakers Breaking the Bias
Six Women at the Forefront of Tech in Africa
Aṣa’s Experiment With “V” is a Timely Evolution of Craft
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Interviews
Film & TV
“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
“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?
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Music
“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
Ready to Play: Music Playlist for the AFCON 2023
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2026 Grammy Awards: How African Celebrities Brought the Fashion Heat to the Red Carpet
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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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