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Arthouse vs. Indie: What’s the Difference?
“For Mama’s Boy” and Other Poems | By Ayiyi Joel
“Deepla Sauce” Review: Sam Deep Cooks Up Tasty New Project
Features & Essays
How Tightly is Africa Embracing This Era of Fashion Fluidity?
Billboard’s US Afrobeats Chart: Is There Anything to Be Thankful For?
Five West African Women Folk Musicians That Might Just be Worth Knowing
The Hyena Men of Nigeria: A Threat to Nature and Human Life?
Nollywood’s Sexist Tropes and the Stereotypical Portrayal of Women in Contemporary Nigerian Movies
Why Do People Still Fall Prey to Ponzi Schemes Amidst Warning Signs?
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Film & TV
Kunle Afolayan’s “Aníkúlápó: Rise of the Spectre” is a Wobbling Cinematic Outing
“A Green Fever” Review: Taiwo Egunjobi’s Historical Suspense Thriller is Incoherent and Corny, Yet Commendable
“One Too Many” Review: “Sorrows, Sorrows, Prayers” for the Listless Moments in the Kayode Kasum-Directed Film
“It Blooms in June” Review: Korede Azeez’s Coming-of-Age Movie Needs to Come of Age
“Daydreamers” Review: Vincenzo Cavallo’s Film Explores the Dreams and Aspirations of Eastleigh’s Somali Immigrants
Film Festival Circuits, a New Frontier for Nigerian Indie Filmmakers?
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Music
Afrocritik Weekly Music Spotlight 2024: Week 8
Emeka Nwokedi: A Classical Music Conductor of International Repute
Director Pink: Standing Out as a Music Video Director in a Crowded Music Industry
All the Fuss About Afrobeats, Its “Way-Pavers” and Frontliners
“Loveless” EP Review: Lojay and JAE5 Take a Roller-Coaster Ride Through Modern Romance
“Public Notice” Review: Bowman Aremwaki Proves His Capability as a Solo Artiste
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Met Gala 2026: How African Celebrities Showed Up on Fashion’s Biggest Stage
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2026 Grammy Awards: How African Celebrities Brought the Fashion Heat to the Red Carpet
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2025 AMVCA: How the Stars Lit up the Night With Style
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