The Editor

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The Afrocritik Report 2025
The Afrocritik Report 2025: Note From the Editor-in-Chief

Rather than offering a simple chronology of events, this Report seeks to map patterns—to trace…

Muscle
Berlinale 2026: Karimah Ashaduʼs “Muscle” Turns the Black Male Body Into a Site of Witness

Muscle is the kind of film that earns its place not by being conventionally digestible…

Mothers of Chibok
Documentary Spotlight: “Mothers of Chibok”

Mothers of Chibok tells an incredible story of dignity, resilience, and defiance, putting on display…

Showmax
Canal+ Shuts Down MultiChoice’s Pan-African Streamer, Showmax

The latest move of Canal+ comes on the heels of the company stripping SuperSport, another…

Jubed
Jubed Is Expanding the Sound and Vision of Ghanaian Pop

“Ghanaian music will always be my number one foundation, but Nigerian music, especially in this…

sampling
Sampling, Interpolation, and What Music Copyright Requires

Failure to clear samples or interpolations may lead to consequences that extend beyond legal disputes.…

Afrocritik
Afrocritik Announces Key Editorial Promotions

The appointments signal Afrocritik’s continued investment in editorial leadership and its ambition to deepen its…

visa denials
How Visa Denials Are Costing African Film Professionals More Than Just a Trip

Visa denials for African film professionals is not a bureaucratic inconvenience sitting at the edge…

Olive Nwosu
Berlinale 2026: In Conversation with Olive Nwosu, Writer-Director of “Lady”

“For me, it’s about making a body of work that is emotionally resonant and speaking…

Love and New Notes
“Love and New Notes” Review: Kayode Kasum’s So-Called Romantic Period Drama Confuses Ambition for Vision

Love and New Notes wants to be different. It wants to be bold. It wants…