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“MKO” Documentary Review: An Admissible Portrait of A Democratic Hero
“Agbara Nla: The Return” Is A Remake Driven by Faith and Nostalgia
In Conversation with Keith Shiri on Curating Film Africa 2026 and the Festival’s Women-Centred Programming
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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Interviews
Film & TV
12 Films Selected for the Nollywood Week Film Festival
“In Bloom” Anthology Creators: In Conversation with the Changemakers Who Lend a Voice to Gender Equality
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
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Music
“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
“Blessed” Review: Berri Tiga’s Debut is Proof of an Artiste Ready for Greatness
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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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