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Variations on the Subject of Family: A Review of the 2026 Caine Prize Shortlist
“Salt in the Snow” Review: Displacements and Shifting Identities Come Together in Sahra Noor’s Debut Memoir
Somalia National Pavilion to Spotlight Contemporary Somali Cinema During Venice Biennale
Features & Essays
Aside From Trend and Business, is There More to the “Period Package” Conversation?
Nudity in Nigerian Music Videos: A Simple, Growing Trend, Or an Absolute Necessity for Sales?
Young African Adults Are Now Choosing to Wait Longer Before Getting Married
Should African Artistes Begin To Look Beyond the Grammys?
Why South Africa is Attracting Foreign Filmmakers
What Happens When Social Media Becomes the First Resort in Emergencies?
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Interviews
Film & TV
AMVCA10: 11 Select Reviews of Nominated Films
“Abomkhulu” Review: The Kganki Mphahlele-Directed Film is Fresh, Funny and Filled With Lessons
“Dead of Night” Review: Chiemeka Osuagwu’s Horror Feature Serves Little Impactful Scares
“Grown” Review: Ola Jegede and Empress Allen’s Young-Adult Drama is Bereft of Introspective Moments
In Conversation: “I Want People to Know that Africa Has Real Filmmaking Talents”, Claire Diao, Film Critic and Founder of Sudu Connexion
Is This the Age of Nollywood at Domestic Box Office?
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Music
“Realness Over Hype” Review: Victor AD Reinforces Himself as a Sonic Conveyor of Hope
Charles Onyeabor’s “Black or White” Inspires Global Unity Across Diverse Lines
20 Emerging African Artistes Who Should Be on Your Radar
Tyla Cements Superstar Potential With Debut Album
“OG Unkle Killz” Review: Ikechukwu’s Latest Project is a Reverent Tribute to His Peak
Afrocritik Weekly Music Spotlight 2024: Week 8
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AMVCA 2026: The Best Celebrity Red Carpet Looks of the Night
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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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10 Celebrities Who Slayed the 2025 AMVCA Cultural Day
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