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Afrocritik’s Top 100 African Songs of 2025
TSWA Film Festival 2025: Freedom of Movement and the Cost of Survival in “Casablanca – Dakar” and “Seed Is Life”
ADIFF 2025: In Conversation With Nana Adwoa Frimpong, Producer of “The Eyes of Ghana”
Features & Essays
The 2023 Caine Prize Shortlist Leaves Bright and Dull Lights
Sondeka Awards: How Creatives Garage Continues to Empower Kenyan & African Creatives
Oladapo Ogunjobi is Harnessing Augmented Reality to Re-define African Art: In Conversation with Afrocritik
Oliver De Coque’s Swansong: What is the Legacy of the Fabled Nigerian Guitarist?
Beyond the World Record, Hilda Baci’s Cook-a-thon Unveils Nigerians’ Relationship with Food and Propriety
25 Queer Books from African and African Diasporan Writers
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Film & TV
“Katangari Goes to Town” Review: Reuben Reng’s Film Is a Commendable Attempt at a Nigerian Whodunit
“Dahomey” Review: Mati Diop’s Documentary is a Powerful Commentary on Decolonisation
“Christmas in Lagos” Review: Jade Osiberu’s Latest Film Falls Short of Christmas Romcom Standards
“Seven Doors” Review: Femi Adebayo’s Directorial Debut is Impressive
10 African Movies to Watch for a Good Laugh
“A Danfo Christmas” Review: Sebastian Ukwa is Committed to Telling Heartfelt Stories
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Music
“Agbalagbi” Review: OluwaMillar Navigates Life, Faith, and Fame on Debut EP
Top Predictions for Africa’s Music Landscape in 2025
Inside the Mercy Chinwo and EeZee Conceptz Fallout
East Africa’s Altè Movement: A New Era of Hybrid Sound
Afrocritik’s 25 Emerging African Artistes Worth Listening To in 2025
“Taigwa Goma” Review: 4Mr Frank White Displays a Seamless Harmony in His Afro-Swing Rap
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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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What Africa Wore to the Met Gala 2025: Fashion, Symbolism, and the Limits of Black Dandyism
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Bold, Regal, and Stylish: African Artistes at the 2025 Grammys
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10 African Fashion Events to Watch Out for in 2025
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