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Sabali
“Sabali” Review: Peruzzi’s Long-Awaited Album Reasserts His Status as Afro-Pop’s Melody King

Sabali reinforces Peruzzi’s indispensable position in Afro-Pop as the genre’s melody king and one of…

Njem, The Boy Who Gave
AFRIFF 2025: “Njem” and “The Boy Who Gave” Find Drama in the Spectacle of Suffering

Take away the spectacle of suffering from Njem or The Boy Who Gave, and frankly,…

reading
How Should We Read? Akpata Magazine and the Reading Debate

Concentration happens on different levels. The human brain is on a diverse spectrum, and people…

How to Get Rid of Ants
The Many Pleasures in Absurdity: A Review of Jesutomisin Ipinmoye’s “How to Get Rid of Ants”

How to Get Rid of Ants is the makings of a master of the form.…

Shona
On “Psalm 23” and “Psalm 16”, Shona Raps the Shepherd’s Love into Sound [Review]

Without a pew, a pulpit, and without taking the hours of parishioners, Shona, like a…

Double or Nothing
AIFF 2025: Rachida SaadiʼS “Double or Nothing” Is a Gamble on Love and Addiction That Plays It Too Safe

Double or Nothing feels tonally inconsistent, unsure whether to lean into satire, tragedy, or domestic…

Kalu Oji
AFRIFF 2025: In Conversation With Kalu Oji and Okey Bakassi, Writer-Director and Lead Actor of “Pasa Faho”

“When you or a group of people are dislocated from your homeland, there’s this inherent…

ADIFF
African Diaspora International Film Festival (ADIFF) Returns for 33rd Edition

The African Diaspora International Film Festival (ADIFF) is set to return for its 33rd edition,…

Safari
AIFF 2025: “Safari”, “Kakanda”, “Dead Tide” Win Major Awards + Full List of Winners

Safari led this year’s winners with three awards out of five nominations, including Outstanding Director…

Nigerian Football
Same Grievance, Different Year: The Endless Cycle of Unpaid Bonuses in Nigerian Football

From coaching staff to players and technical crew, nearly everyone who has worked under the…