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Fela Anikulapo Kuti to Receive Lifetime Achievement Award at 2026 Grammy Awards
TSWA Film Festival 2025: “Girl-Boy”, “Say Something”, “Ziwa”, “Entre Nós e o Silêncio”, “Bureau De Change”, and “Fading Candle” Reviews
ADIFF 2025: Yassine Fennane’s “The Ants” Undertakes a Study in Dignity and Survival Across Class
Features & Essays
Has the INEC Fufilled All Its Promises?
Do Africans Need White Weddings?
Is the Igbo Apprenticeship System Alive and Well?
“My Move into Singing is Not a Transition,” Pheelz: In Conversation with Afrocritik
From Modeling to Acting, “Dark October”’s Chuks Joseph Charts His Transition to Nollywood
What is Fela’s True Legacy?
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Film & TV
“My Father’s Fable” Review: Faith Omole’s Theatre Show Is an Emotional Exploration Into Family Trauma and Nigerian Identity
“Onye Egwu” Review: The Uche Jombo-Directed Film is a Near Miss
“Lobola Man” Review: Thabang Moleya’s Romcom is a Breeding Ground of Cliches
Filmjoint: The Platform Promoting and Distributing Nigerian and International Short Films
“Mapantsula” Review: Oliver Schmitz’s Crime-Drama is a Gripping Portrayal of Apartheid-Era South Africa
“Mvera” Review: Linah Sande’s Talent is the Conspicuous Selling Point of Daudi Anguka’s Film
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Music
20 Iconic African Albums That Defined the 2000s
“The Younger Me” Review: Dr Soul Makes a Grand Sonic Statement With New EP
“Kaution” Review: Kold AF Delivers a Fierce Performance on Her Latest Project
Bongo Flava: The Evolution of East Africa’s Soundtrack
“Adedamola” Review: Fireboy DML Reinvents Himself With New Project
“Bandito” Is an Unusual Offering From Dre Foryoursoul
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2025 AMVCA: How the Stars Lit up the Night With Style
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What Africa Wore to the Met Gala 2025: Fashion, Symbolism, and the Limits of Black Dandyism
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