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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
African Gospel Artistes May Have Found the Springboard to World Domination
“Na God Go Punish Una!” Concert Culture in Nigeria is a Slippery Slope for the Progress of Nigerian Entertainment
The Female Camus | Abigail George
Is There Truly ‘No Big Deal’ in the Sarkodie-Nasty C Feud?
15 Things To Know About Chimamanda Ngozi Adichie’s Chieftaincy Title
Afrocritik Top 25 African Music Videos of 2022
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Why Copyright Protection Matters For The Future of Nollywood
“Funmilayo Ransome-Kuti” Review: Bolanle Austen-Peters Skillfully Conveys a Political Treatise in This Biopic
“UNO (The F in Family)” Review: Ebuka Njoku’s Sophomore Feature is Endearing, But Does It Triumph?
A Brief History on the Visual Language of Sex in Cinema
AMVCA 2024: The Year the Award Ceremony Attempted to Get It Right
“Water & Garri” Review: Meji Alabi’s Directorial Debut Feature Offers Scintillating Visuals But Doubtful Storytelling
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Music
“Son of Chike” Review: Chike Hits the Perfect Trifecta With Third Album
“Are You Listening?” Review: Taves’ New Project is a Sonorous Blend of Emotions
“HEIS” Review: Rema’s Sophomore Album is a Radiant Emblem on Afro-Rave
“Lost and Found” Review: Simi Reaffirms Her Spot as a Modern African Ballads’ Connoisseur
“Pheelz Good II” Review: Pheelz Basks in Creativity With His Latest Project
In Conversation: How Kaycee Brown Is Embracing His Identity Through Music
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