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MIFF 2026: “Chronicles From the Siege” Is the Film That Says What Politics Has Failed To
“ALKEBULAN III: The Water Remembers” Review: Matt B Rounds Out Album Trilogy With Orchestral Flourish
“Starrgirl” Review: Ayra Starr Cements Star Girl Status with New Album
Features & Essays
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?
Have we Reached the Long-awaited Meeting Point of Politics and Religion?
Live Performance Culture: How Has the Trio of Burna Boy, Wizkid, and Davido Fared?
Beyond a Name Change, the Need for a Full Nigerian Prison Reform
Scores and Original Soundtracks: Nollywood’s Untapped Goldmine?
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Film & TV
“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?
Mati Diop’s Documentary, “Dahomey”, Wins Golden Bear for Best Film at the 74th Berlinale
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Music
Kizz Daniel Retains Similar Elements on “TZA” EP
These Trailblazers are Shaping the Industry for Female Music Producers in Africa
“Love is War” Review: IAMDDB Confidently Struts Her Skills on New Album
Afrocritik Weekly Music Spotlight 2024: Week 7
“Overwhelming Victory” Review: Mercy Chinwo Leans Into Her Strengths on New Album
“Sideh Kai” Review: IllBliss Aims Big but Falls Short
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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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