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Olu Jacobs: The Lion Leaves the Frame
TIFF 2026: In “Congo Boy”, Rafiki Fariala Harnesses Music As A Conduit For Hope And Resistance
Venice 2026: In Conversation with Kamel Laaridhi on “The H@llow Man” and the Dystopian Character of Our Times
Features & Essays
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?
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?
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Film & TV
“Japa!” Review: Isioma Osaje’s Speculative Debut Feature is Convoluted Beyond Genre Expectations
Nollywood and the Evolution of the Sacred Feminine
Moussa Sène Absa’s “Xalé” Set to Tour Nairobi in March
“Blood & Water” Season 4: The Downfall of Africa’s Most Promising Netflix Series
“The Fisherman’s Diary” Review: Enah Johnscott’s Film Advocates for Gender Inclusion in Education
Filmmaker, Gelax Bolaji’s Documentary, “Silent Tumors”, Spotlights the Silence Struggles of Women with Fibroids in Nigeria
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Music
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
“More Kashcoming” Review: Kashcoming Delivers an Incomplete Rendition on New EP
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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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