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Saviour for the Condemned: A Review of Joseph Nnamdi’s Debut Novel
AFRIFF 2026: “Adanne” Is a Familiar Story of Mothers, Daughters and Inherited Expectations
Film Africa 2026: The Fragility of Faith, Innocence and Belonging In “God Sleeps On Sundays”, “Echoes Beneath the Hill”, and “Zizou”
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Film & TV
Marking Democracy Day: 5 Films about Nigeria’s Democracy (And Where to Find Them)
“Charge and Bail” Review: Inkblot’s Courtroom Drama is a Legal Comedy in Every Sense
“The Wildflower” Review: Biodun Stephen’s Winning Streak Continues in New Film About Gender-Based Violence
“Dazzling Mirage” Review: Tunde Kelani’s Old but Gold Film on sickle-cell Disease Makes Entrance on Netflix
“Kedibone” Review: A Coming-of-Age Tale of a Flawed, Young South African Woman
“The Perfect Arrangement” Review: Inkblot Production’s Latest Release Lacks Artistic Direction
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Music
Runtown’s “$igns” Album is a Genre-Sliding, Beautiful Work of Art
Afrocritik Best 25 Music Albums of 2022
Strongman Pays Homage To His Root on “Buokrom Boy” EP
Nikita Kering’ Relives Endless Battles With Trauma on “The Other Side” EP
Tim Godfrey’s 7th Album, “Chapter One,” is Blemished by Faulty Vocal Projection
“Black Panther: Wakanda Forever” Album is a Lengthy Project That Offers Closure
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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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