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ADIFF 2025: Sana Na N’Hada Examines the Cost of Freedom and the Weight of Memory in “Nome”
African Projects Dominate at 2025 Red Sea Souk Awards + Full List of Winners
“Ojirami: The Weeping River” Review: Immigration, Myth, and Tragedy Swirl in a Play About the Potency of a Deity
Features & Essays
Experiencing Theatrical Greatness with Bolanle Austen-Peters: Fela’s Republic and the Kalakuta Queens
Is Theatre Still Alive in Nigeria? Joshua Alabi’s Journey as a Theatre Practitioner in Nigeria
Femininity Should Never Be an Impediment to Women’s Freedom in Africa
The Men’s Club: Will Ayoola’s Exit and Pere’s Entry Cost the Show its Fans?
Saving Theatre: Lessons the Nigerian Theatre Can Learn From the Film Industry
How Women are Constantly Objectified in Nigerian Comedy
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Film & TV
Adebayo Tijani’s “Ijakumo: the Born Again Stripper” is Only Half as Good as it Promised To Be
“How to Ruin Christmas: The Baby Shower” Series Review: Third Season Has Same Formula, More Drama, and a Tumi-Sized Hole
“U-Turn” Review: Gabriel Afolayan’s Directorial Debut Is a Road Movie Lacking in Attractions
“Love Lives Here” Review: Norman Maake’s RomCom is a Fairy Tale that Sticks to its Story
“Far from Home” Review: Netflix’s Formulaic Nigerian Young Adult Series is Bingeable but Falls Short
Eleven Movies Coming to your Screens this December and Beyond
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Music
“Love and Chaos” Is a Beautiful, Heart-Swelling, Sonic Time Out with Kuami Eugene
“Unboxed” Review: Nissi’s Sophomore EP is a Fantastic Experimental Project
“Eziokwu” Review: Odumodublvck’s Enjoyable Project Is Marred By Repetitive Narratives
“Sincerely, Benson” Review: Bnxn Makes a Bold, Brazen Debut as One of Afrobeats’ Finest Artistes
“To Cry & Bounce” Review: Bouff Explores Resilience and Desire on New EP
“Son of the Soil” Review: Not3s Embraces His Cultural Roots and Rhythms on New EP
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2025 AMVCA: How the Stars Lit up the Night With Style
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