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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
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Film & TV
With “Moremi: The Epic Battle,” Aroba Animation is Set to Preserve Yoruba History
“Savage Beauty” Review: A Dysfunctional Wealthy Family in a Tale of Revenge
“The Man for the Job” Review: More Is Less in Niyi Akinmolayan’s Tech-World Crime Thriller
Four Nollywood Crime Thrillers to Stream After “Blood Sisters” (And Four Coming Soon)
“Blood Sisters” Review: Netflix’s First Nigerian Original Series is EbonyLife’s Dramatic Comeback
“Silverton Siege” Review: Is this Film about the Silverton Trio? Not Really
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Music
With “Soundtrack to the Good Life,” Ajebutter22 Chaperones Listeners Towards the Good Life
Kabza De Small and Stakev Display the Softer Side of Amapiano on “Rekere” Album
Okey Sokay’s “The Archives” Album Focuses More on Production than Sound Lyricism
Blanche Bailly’s “Authentik” LP is a Fine Attempt at Stamping Legacy
Say Goodbye to Love: Blaqbonez’s Anti-Love Crusade is Breaking Every Yoke
Rhita Nattah Channels Her Emotions Into “Inner Warrior” EP
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AMVCA 2026: The Best Celebrity Red Carpet Looks of the Night
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2025 AMVCA: How the Stars Lit up the Night With Style
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