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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
Real-life vs the Internet: Measuring Success for Young Africans
New Technology in the Arts and Entertainment Scene: What Does This Mean for Africa?
Why the Eastern Nigerian Music Industry is Falling Short
Tribalism in Africa: a Tool for Charging Political Agenda
Experiencing Theatrical Greatness with Bolanle Austen-Peters: Fela’s Republic and the Kalakuta Queens
Is Theatre Still Alive in Nigeria? Joshua Alabi’s Journey as a Theatre Practitioner in Nigeria
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Film & TV
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
11 African Films to Screen at the 2024 International Film Festival Rotterdam (IFFR)
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Music
An African Love Songs Playlist for Valentine’s Day
Afrocritik Weekly Music Spotlight 2024: Week 4
The Rise of Arbantone: A New Stable Among Kenyan Music Genres?
“Once Upon A Cat” Review: Iyanya Struggles for Artistic Control on New LP
“Evil Twin” Is a Poignant Reminder of PsychoYP and Jeriq’s Insane Potential
Afrocritik Weekly Music Spotlight 2024: Week 3
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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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