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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
Why the Eastern Nigerian Music Industry is Falling Short
Tribalism in Africa: a Tool for Charging Political Agenda
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?
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“Married to Work” Review: Philippe Bresson’s Rom-Com Falls Short of Expectations
“The Plan” Review: A Wonky Storyline Hinders the Prospects of an Enjoyable Watch
How Netflix and EbonyLife’s “A Sunday Affair” Makes a Feeble Case for Female Friendships
“Flawsome” Review: Once Again, Nollywood Women aren’t Independent of Masculine Convention
“All Na Vibes” Review: An Ambitious Film Loses its Aspiration to Flimsy Plot
“Dark October” Review: Is October Cursed?
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“Sankofa” Review: Azawi Unpacks Layers of Love and Heritage on New Album
“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
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