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“MKO” Documentary Review: An Admissible Portrait of A Democratic Hero
“Agbara Nla: The Return” Is A Remake Driven by Faith and Nostalgia
In Conversation with Keith Shiri on Curating Film Africa 2026 and the Festival’s Women-Centred Programming
Features & Essays
Interviews
Film & TV
Chief Daddy 2 Review: Netflix’s Sequel Is a Bad Start to an Initially Promising Year
A Naija Christmas Review: Kunle Afolayan’s Delightful But Unsatisfactory Christmas Romp
Whose Funeral Is It? A Review of “How To Ruin Christmas” Season 2: “The Funeral”
Nollywood Horror Film “Hex” Review: A Clarence Peter’s Experimental Foray Into Film Making
Netflix Series: A Review of South Africa’s “How To Ruin Christmas: The Wedding” First Season on Netflix
AMAA 2021 Awards: A Breakdown of the Wins and the Winners’ Losses
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Music
Victoria Orenze’s “Truth in Sounds” Album Cements Her Depth in Carving Spiritual Lyrics
Show Dem Camp Takes Listeners on a Final Palmwine Music Ride with “Palmwine Music 3”
B-Red Shows a Lack of Depth on His “Good Music for Bad Days” EP
Layzee Ella Furthers Her Artistic Growth with Dancehall-Infused “Feel Everything”
Chris Morgan’s Afrobeats-Infused “New Blast Is a 12-Track Masterpiece
Nasty C’s “Ivyson Army Tour” Is an Underwhelming Mid-term Assessment from a Star Student
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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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