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Francis Duru: The Legacy Beyond Ahanna
HollyShorts Film Festival 2026: In Conversation with British-Nigerian Filmmaker Efosa Osaghae, Director of “Phantom Carousel”
“MKO” Documentary Review: An Admissible Portrait of A Democratic Hero
Features & Essays
The Calendar and the Clock: The Relevance of Names to African Identity
How Nigerian Music Powers Hollywood Blockbusters
Why Do Nigerian Gospel Artistes Not Have Celebrity Status?
From Mixing Sounds In Church To Making Socially-Conscious Music: The Story Of Papyfire
Sound Sultan: Journey Well, Naija Ninja
Here Is My Life, A Time Capsule For Grief
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Film & TV
The “Set Up 2” Review: Chinaza Onuzo’s Latest Release Focuses on Aesthetics and Lacks Depth and Clarity
“Collision Course” Review: Bolanle Austen-Peters Makes a Social Commentary on Police Brutality. But to What End?
“The Milkmaid” Review: Desmond Ovbiagele’s Femicentric Terrorism-Themed Feature Is a Nollywood Revelation
Kayode Kasum’s “Dwindle” Feels Like Recycled Ideas, Yet Entertaining to Watch
“The Throne” Review: A Banal Tale about the Hunger for Power
“Office Invasion” Review: Three Office Friends Battle Aliens in a Slow but Charming South African Sci-Fi Comedy
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Music
Davido Completes His Trilogy with a Triumphant Return on “Timeless” LP
Major League DJz & Major Lazer Crystallises Recent Successes With “Piano Republik” LP
Brucy Radebe’s “The Grace Encounter Vol. 2” is a Seal on her Singing Prowess
Chike and Oxlade Enthrall Fans on “Spell” Remix Music Video
Valerie Omari Tugs Heartstrings with Cohesive Heartbreak Tales on “Closure” EP
Navy Kenzo’s “Most People Want This” LP is a Fine Tribute to Love and Sex
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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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