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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
Afrocritik Best 15 African Films that Streamed in 2022
Afrocritik Top 15 African Rap Albums of 2022
Afrocritik Top 25 African Novels of 2022
Stream Farms: Should Ratings be the Only Relevant Metric Used in the Music Industry?
Is Africa Commemorating Its Heroes Enough?
Is Artistic Cross-Carpeting Beneficial in the Long Run for Black Artistes?
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Film & TV
“Momiwa” Review: Family is Redefined in the Biodun Stephen-Directed Drama
“Postcards” Review: Hamisha Daryani Ahuja’s Series Stacks the Pile of Poorly-Contrived Nollywood Productions
Why We Need New Names in Nollywood
“Strained” Review: Okechukwu Oku’s Film is Simple Yet Sophisticated
“Face to Face” Review: Waleed El Halfawy’s Film is Involuntarily Funny, and There Lies Its Charm
“Soweto Blaze” Review: Brad Katzen’s Film Fizzles in Its Slapstick Attempt
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Music
“Mbuzi” Review: Young Lunya’s Debut Album is a Reiteration of His Storytelling Prowess
“Ikigai” Review: Olamide’s New EP Expands His Cultural Cachet
Afrocritik’s Top 30 African Songs in the First Half of 2024
“Madam Dearest Pt.1” Review: DOTTi the Deity Delivers a Captivating Love Anthem
“Stubborn” Review: Victony’s Impressive Debut LP Explores Life’s Highs and Lows
“Hexagon” Review: Love and Devotion Shine Through Anendlessocean’s New EP
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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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10 African Fashion Events to Watch Out for in 2025
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