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Arthouse vs. Indie: What’s the Difference?
“For Mama’s Boy” and Other Poems | By Ayiyi Joel
“Deepla Sauce” Review: Sam Deep Cooks Up Tasty New Project
Features & Essays
Vaillante: The Cast of UNICEF’S Miniseries Want Child Marriage Survivors to Feel Seen
From Writing Corporate Briefs to Creating Soulful Melodies, Cill Soul Is on the Rise, Taking Strides, One Leap at a Time
Stranded in Ukraine: Why Nigeria Cannot Demand Fealty From Nigerians
Tips to Overcoming Postpartum Depression
Real-life vs the Internet: Measuring Success for Young Africans
New Technology in the Arts and Entertainment Scene: What Does This Mean for Africa?
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The Nollywood Mystery Thriller: Sometimes It’s Elementary, and Sometimes There’s None
Sundance 2024: In Daphne Matziaraki and Peter Murimi’s “The Battle for Laikipia”, Climate Change Adds Salt to Festering Sociopolitical Wounds
Six African Titles to Screen at the 22nd Dublin International Film Festival
Kenyan Mental Health-Themed Film, “Act of Love” to Screen at The Alchemist Screen in Nairobi
Sundance 2024: Shuchi Talati’s “Girls Will Be Girls” Is a Scintillating Coming-of-Age Debut
Sundance 2024: Bruno Mourral’s Dark Comedy “Kidnapping Inc” Flatters to Deceive
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Music
Grammy-nominated Artiste, Matt B, Releases New Music Video for “Shining”
The Continuing Rise and Influence of East African Drill Music and Culture
“Drop 7” Is Little Simz’s Experimental Self-Coronation
Afrocritik Weekly Music Spotlight 2024: Week 5
“This Is Me (Live)” Review: Frida Amani Presents a Resounding Bongo Rap EP
Logos Olori’s Enjoyable Self-Titled Debut EP is Undercut by Bland Lyricism and Delivery
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AMVCA 2026: The Best Celebrity Red Carpet Looks of the Night
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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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