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How Visa Denials Are Costing African Film Professionals More Than Just a Trip
Berlinale 2026: In Conversation with Olive Nwosu, Writer-Director of “Lady”
“Love and New Notes” Review: Kayode Kasum’s So-Called Romantic Period Drama Confuses Ambition for Vision
Features & Essays
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
Flora Nwapa: the Lesson on Artistic Endurance
Are “Alpha Males” Responsible for the Rise of the “Involuntary Celibates”?
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Film & TV
“Jolly Roger” Review: What Is Walter Banger’s True Motive in This Crime Thriller?
“Here Love Lies” Review: The Appealing Aura of Tope Oshin’s Film is Stifled by a Puzzling Storyline
“Beyond the Veil” Series Review: Five Northern Women Navigate Life in a Warm, Slow-Paced Drama
“Married to Work” Review: Philippe Bresson’s Rom-Com Falls Short of Expectations
“The Plan” Review: A Wonky Storyline Hinders the Prospects of an Enjoyable Watch
How Netflix and EbonyLife’s “A Sunday Affair” Makes a Feeble Case for Female Friendships
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Music
“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
“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
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2026 Grammy Awards: How African Celebrities Brought the Fashion Heat to the Red Carpet
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What Africa Wore to the Met Gala 2025: Fashion, Symbolism, and the Limits of Black Dandyism
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