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Variations on the Subject of Family: A Review of the 2026 Caine Prize Shortlist
“Salt in the Snow” Review: Displacements and Shifting Identities Come Together in Sahra Noor’s Debut Memoir
Somalia National Pavilion to Spotlight Contemporary Somali Cinema During Venice Biennale
Features & Essays
Femininity Should Never Be an Impediment to Women’s Freedom in Africa
The Men’s Club: Will Ayoola’s Exit and Pere’s Entry Cost the Show its Fans?
Saving Theatre: Lessons the Nigerian Theatre Can Learn From the Film Industry
How Women are Constantly Objectified in Nigerian Comedy
Black on Black Discrimination and the Ignorance of Our Collective Histories
Cultural Baggage: Should African Women Prove their Worth Only Through Suffering?
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Interviews
Film & TV
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)
“Merry Men 3: Nemesis” Review: Netflix Strikes Again With Third January Cringe Fest
African Cinema on the Rise: 13 African Titles Gracing the 74th Berlinale
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Music
Joeboy Inks Dual Deal with Warner Music, Launches Young Legend Label
“We Cut Keys 2” Review: Blinky Bill Returns With a Sonorous And Genre-Bending New Album
“The Chorus Leader” Review: Timi Dakolo is Bold and Bare on New Album
DUST Review: Priddy Ugly Takes an Emphatic Bow on Final Album
Afrocritik Weekly Music Spotlight 2024: Week 2
“Dem Mauru” Review: Maandy’s New EP Attest to Her Hard Work and Sensitivity
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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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