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“Jollof Rice and Other Revolutions” Review: Omolola Ijeoma Ogunyemi’s Debut Is a Triumph of Voice Storytelling
Arie and Chuko Esiri Set To Reimagine Virginia Woolf’s “Mrs. Dalloway” In Contemporary Nigerian Production, “Clarissa”
Jason Jacobs and Devon Delmar’s “Variations on a Theme” Wins Top Award at International Film Festival Rotterdam (IFFR)
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Film & TV
#Throwback Movie Review: “Elevator Baby” Attempts To Mirror A Country’s Systemic Problems, But How Well Is It Done?
Movie Review: Tunde Kelani’s “Ayinla” Delights With Great Acting, But Lacking In Plot
#Throwback Movie Review: “Sylvia” Is A Nuanced Take On Mental Health And The Paranormal
#Throwback Movie Review: Akin Omotoso’s “The Ghost And The House Of Truth” Is An Emotive Thriller
Movie Review: Niyi Akinmolayan’s “Prophetess” Is Ambitious
Nollywood Scripts Are Really Problematic – But Aren’t They True To Life?
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Music
Nasty C’s “Ivyson Army Tour” Is an Underwhelming Mid-term Assessment from a Star Student
6-Track EP, “Festival of the Sun,” Is Ogranya’s Most Experimental Work
KiDi Restates His Impressive Sonic Craftsmanship on “4Play” EP
9ice Shows Traits of His Almost-Forgotten Brilliance on “Tip of the Iceberg II”
Ayüü Offers an Enjoyable Ride on “Toxic Sweet”
Neon Adejo’s Latest Inspiring Album, “Nothing But the Gospel,” Reveals What the Gospel Really Is
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