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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
Child Marriage, and the Need to Take Action
How Social Media in Africa is Helping the Fight Against Dictatorships
2023 Elections: Nigeria’s Choice of President Should Be Based on Ability, Not Gender
Adultery Scandals: How Immune are we to the Straying Net of Infidelity?
NFT for African Artists and Why They Should Matter
Nwanyi Ocha: on the Controversies Surrounding the Idea of a White Igbo Commissioner
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“How to Ruin Christmas: The Baby Shower” Series Review: Third Season Has Same Formula, More Drama, and a Tumi-Sized Hole
“U-Turn” Review: Gabriel Afolayan’s Directorial Debut Is a Road Movie Lacking in Attractions
“Love Lives Here” Review: Norman Maake’s RomCom is a Fairy Tale that Sticks to its Story
“Far from Home” Review: Netflix’s Formulaic Nigerian Young Adult Series is Bingeable but Falls Short
Eleven Movies Coming to your Screens this December and Beyond
“Nafsi” Review: A Surrogacy Gone Wrong Jeopardises Relationships in Kenyan Feature
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Music
“In Case I Never Love Again” Review: Oladapo Offers a Gripping Comeback on Debut Album
“Life Is Better Now” Review: Nana Fofie Tells an Emotive Story With Her EP
In Memory of Imole: A 10-Track Mohbad Playlist You Should Listen To
“RU The World” Review: Ruger’s Sugary Debut Album Promises a Gratifying Experience But Nothing More
“Cheers to Life” Review: Majeeed Taps into His Core to Release a Celebratory EP
“Emotions” Review: Khaid’s Growth is Evident on Sophomore EP
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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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