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Tolu Ajayi’s AMVCA-Winning Psychological Thriller, “Over the Bridge”, Hits Nigerian Cinemas on 5th September
Are Music Videos Relevant in Afro-Pop Today?
Kaelo Iyizoba and Muhannad Lamin Selected for TIFF Directors’ Lab 2025
Features & Essays
Nollywood’s Global Impact: How Nigerian Films are Captivating Audiences Worldwide
The “Crash” of OkadaBooks is a Call for Nigeria to Reflect on the State of Its Art Communities
Six Sub-Genres Expanding the Diversity of Afrobeats
Electric Vehicles (EVs): A Green Solution for Africa or More Environmental and Economic Quandaries?
Searching for New Philosophers at the Umuofia Arts and Books Festival 2023 (UmuofiaFest)
New Generation Connectivity: Africa’s Journey to 5G and the Wealth of Opportunities It Brings
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Interviews
“I am a Perfect Symbol of Limitlessness”: Ebuka Njoku in Conversation with Afrocritik
Painting a New Way of Seeing Africa: In Conversation with the Filmmakers Who Took “Mami Wata” Global
Reem Gaafar is Blurring the Lines between Science and Creativity: In Conversation with Afrocritik
On Growing Up, Music, New Single And Future Projects: Guchi in Conversation with Afrocritik
“There’s no Permanent Enemy, only Permanent Interests” — Olarotimi Fakunle, Eleniyan of “Gangs of Lagos,” in Conversation with Afrocritik
Michael Omonua is Telling African Stories in the Language He Wants
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Film & TV
“On Becoming a Guinea Fowl” Review: Rungano Nyoni’s Award-Winning Sophomore Film Shatters Traditional Female Neglect
“Everybody Loves Jenifa” Review: Funke Akindele’s Latest Film Is a Worthy Addition to the ‘Jenifa’ Franchise
Afrocritik’s 25 Remarkable African Films of 2024
“Suspicion” Review: Tosin Igho Explores African Spirituality from an Intriguing Perspective
10 African Movies You Can’t Miss This Holiday Season
All You Need to Know about “77: The FESTAC Conspiracy”
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Music
“Moonflower” Review: MiDi KwaKwa Explores Romantic Experiences on New EP
It’s 2025 and We Still Don’t Understand Intellectual Property in Kenya
Afrocritik’s Weekly Music Spotlight: Energy Boost
Odumodublvck & the Never-Ending Fight Over What Nigerian Rap Should Be
Afrocritik’s Weekly Music Spotlight: Something Different
“I Dream In Color” Review: Magixx’s Debut Album Offers an Unfiltered Look Into His Mind
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VIDEOS
Welcome to our YouTube Channel
Books
With Aiwanose Odafen’s “Tomorrow I Become a Woman,” The Modern Feminist Nigerian Novel Continues To Mature
Nnamdi Ehirim’s “Prince of Monkeys” Captures the Trauma of a Generation
Hell Hath No Fury Like a Poet Scorned: A Review of Dami Ajayi’s “Affection and other Accidents”
What is Yet Unsaid about Eloghosa Osunde and Her Novel, “Vagabonds!”
The Orientations of the Street in Jindu Enugbe’s “Street OT”
Jennifer Makumbi’s “A Girl is a Body of Water” is a New Height for the African Coming-of-Age Novel
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Culture
Pride Month 2021: Dangerous Myths About LGBTQ+ People In Nigeria That Should Be Left Behind
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Fashion
2025 AMVCA: How the Stars Lit up the Night With Style
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10 Celebrities Who Slayed the 2025 AMVCA Cultural Day
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What Africa Wore to the Met Gala 2025: Fashion, Symbolism, and the Limits of Black Dandyism
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Bold, Regal, and Stylish: African Artistes at the 2025 Grammys
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10 African Fashion Events to Watch Out for in 2025
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Sports
AFCON 2023: The Dynamic Players, the Teams, and Their Diverse Origins
Anthony Joshua and Francis Ngannou Set for Epic Showdown in Saudi Arabia
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Explainers
Fiction & Poetry
I Toil Through the Deep, & Other Poems
Dearest, & Child, Though Death be a Tyrant, not Every Dead Yielded to Tyranny
At the Squad
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