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In Conversation: oSHAMO Talks Fuji, Self-Discovery, and What’s Next
How Visa Denials Are Costing African Film Professionals More Than Just a Trip
Berlinale 2026: In Conversation with Olive Nwosu, Writer-Director of “Lady”
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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“Big Nunu’s Little Heist” Review: Andy Krasil’s-Directed Fast-Paced Comedy is a Memorable Watch
“Republic of South Ah SH**t” Review: Once Again, Kagiso Lediga-Directed Film Reiterates His Artistic Depth
“Fatal Seduction” Review: Netflix’s New Series Offers Steamy Temptations But Little Thrill
“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?
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Music
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
“Sankofa” Review: Azawi Unpacks Layers of Love and Heritage on New Album
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2026 Grammy Awards: How African Celebrities Brought the Fashion Heat to the Red Carpet
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