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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
Vaillante: The Cast of UNICEF’S Miniseries Want Child Marriage Survivors to Feel Seen
From Writing Corporate Briefs to Creating Soulful Melodies, Cill Soul Is on the Rise, Taking Strides, One Leap at a Time
Stranded in Ukraine: Why Nigeria Cannot Demand Fealty From Nigerians
Tips to Overcoming Postpartum Depression
Real-life vs the Internet: Measuring Success for Young Africans
New Technology in the Arts and Entertainment Scene: What Does This Mean for Africa?
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Film & TV
“African Folktales Reimagined” Review: Netflix and UNESCO Present a Timeless Glorification of Africa’s Legends and History
“The Trade” Review: Jade Osiberu Serves Thrills in this True Crime-Inspired Hidden Gem
“Strangers” Review: Does Biodun Stephen’s Mystery Drama Pass as a Good Film?
“Jolly Roger” Review: What Is Walter Banger’s True Motive in This Crime Thriller?
“Here Love Lies” Review: The Appealing Aura of Tope Oshin’s Film is Stifled by a Puzzling Storyline
“Beyond the Veil” Series Review: Five Northern Women Navigate Life in a Warm, Slow-Paced Drama
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Music
“7 SEAS” Review: June Freedom Demonstrates His Unique Artistry on Enjoyable LP
With “Ravage” EP, Rema Solidifies His 2023 Success
“Area Boyz” Review: NSG Explores Rhythms From the Streets on New Album
“Anomaly” Review: Dunnie’s Enjoyable Melodies is Marred by Subpar Songwriting
Mayorkun Plays It Safe on “Love.. For Free” EP
“Chocolate Daddy” Review: Orezi Marks an Exciting Return in His Own Terms
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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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10 African Fashion Events to Watch Out for in 2025
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