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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
Saving Theatre: Lessons the Nigerian Theatre Can Learn From the Film Industry
How Women are Constantly Objectified in Nigerian Comedy
Black on Black Discrimination and the Ignorance of Our Collective Histories
Cultural Baggage: Should African Women Prove their Worth Only Through Suffering?
The Writer’s Dilemma: The Anxiety of Influence and Originality
The Mental Health Pandemic: Why More Men Will Keep Suffering in Silence
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Film & TV
“Shanty Town” Thrives More on Casting than Storytelling: Further Consideration of “Shanty Town”
“Shanty Town” Series Review: What Exactly Is this Ultraviolent and Relentlessly Grim Crime Drama Trying to Prove?
“Side Dish” Review: A Single Night’s Decision Changes Everything in Mandla Ngcongwane’s Crime Series
“4-4-44” Review: Izu Ojukwu’s Period Film about Love and Mental Health Can’t Find Its Spark
“Battle on Buka Street” Review: Nollywood Returns Home in Funke Akindele’s Polygamy Comedy
Adebayo Tijani’s “Ijakumo: the Born Again Stripper” is Only Half as Good as it Promised To Be
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Music
“Son of the Soil” Review: Not3s Embraces His Cultural Roots and Rhythms on New EP
“Palmwine Diaries Vol.1” Review: Juls Connects With His Ghanaian Roots on His Latest EP
“Pan African Rockstar” Review: Lady Donli’s Long-Awaited Sophomore Arrives Triumphantly
“Love/Hate Pt.1” Review: Xenia Manasseh Delivers an Impressive Introduction on Her Debut LP
“I Love It Here” Review: Nasty C Revels in His Growth on New Album
“Solomon” Review: Cassper Nyovest Harps on Self-Aggrandisement on New Album
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2025 AMVCA: How the Stars Lit up the Night With Style
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