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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
Six Women at the Forefront of Tech in Africa
Aṣa’s Experiment With “V” is a Timely Evolution of Craft
Africa and the Culture of Wife Inheritance
Drawing the Line Between Respect and Power Thirst
Podcasting for Africans, and How to Get Started
How the Igbos See “Dada” Children, and the Place of “Umu Dada” in Igbo Cosmology
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“Sista” Review: Kehinde Bankole’s Acting in Biodun Stephen-Directed Flick is a Cinematic Representation of Motherhood
“Queen Cleopatra” Review: Jada Pinkett Smith’s Docu-series is a Flawed Romance of a Pre colonial African Monarch
“Subjects of Desire” Review: Are We Ever Going To Get over the Idea of Cultural Appropriation?
“Safari” Review: Bill Afwani-Directed Film Is a Successful Casting of Child Actors
“Gangs of Lagos” Review: In Jade Osiberu’s Crime Thriller, Pre-Electoral Manipulation, Defeated Dreams, and Friendship Take Center Stage
“Unseen” Review: Travis Taute’s Crime Thriller is an Attempted Exploration of the Life of a Working-Class Woman
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Music
“Blue Hour Notes” Review: Faith Moyosore Agboola’s Debut Spoken Word EP Explores Vulnerability, Despair, Hope, and Love
“Masta” Review: Tim Lyre’s New EP Chronicles His Artistic Evolution
“Body, Soul, & Spirit” Review: Joeboy Expands on Past Work With New EP
“Don’t Get Used To This” Review: WurlD Operates at the Peak of His Powers on New EP
“Family Time” Review: Erigga’s Storytelling Finesse is Marred by Subpar Production
“The Evil Genius” Review: Mr Eazi Gets Up Close and Personal On Debut LP
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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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