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“MKO” Documentary Review: An Admissible Portrait of A Democratic Hero
“Agbara Nla: The Return” Is A Remake Driven by Faith and Nostalgia
In Conversation with Keith Shiri on Curating Film Africa 2026 and the Festival’s Women-Centred Programming
Features & Essays
The Evolving Role of Streaming Platforms in Global Culture
Does Nollywood Have Too Many Speaking Events?
What Music and Dance Trended in Francophone Africa in 2024?
Opinion: We Have Taken Afrobeats to the World, and Now They Are Taking It From Us
Chidimma Adetshina’s Inspiring Rise to the Miss Universe Stage
BBL Comedy Box: Showcasing South-Eastern Nigeria’s Comic Brilliance
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Interviews
DhannyJazz The Saxifier and The Beauty of Instrumental in Music
World Scrabble Champion, Wellington Jighere, is Putting Nigeria on the Global Sports Stage
Moussa Sène Absa and the Trilogy that Redefines African Femininity in Film
Obii Ifejika’s Multifaceted Use of Poetry in Navigating the Human Experience
Barnabas Emordi: Successive Steps Behind the Lens to Becoming Nollywood’s Highest-Grossing Cinematographer
“All Art Helps Us to See the Humanity of Another”: Kenya Writer, Dennis Mugaa, Speaks About His Forthcoming Debut, “Half Portraits Under Water”
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Film & TV
What Trends Will Drive Africa’s Film Industry in 2026?
Sundance 2026: Praise Odigie Paige’s “Birdie” Interrogates War, Displacement, and the Frayed Edges of Memory
Why Nollywood Has Stars but No Movie Stars
“Aníkúlápó: The Ghoul Awakens” Pursues Adventure At The Expense of Cohesion
Sundance 2026: In Conversation with “Kikuyu Land” Directors, Bea Wangondu and Andrew H. Brown
Sundance 2026: “Jazz Infernal” Is a Sonic Portrait of Diaspora and Legacy
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Music
“Wonderful” Review: Tay Iwar Continues To Wow With New EP
“Catharsis” Review: Fola’s Debut Album Offers an Intimate Outpouring of Desire and Affection
“Kings Will Rise” Review: The Scorpion Kings Continue Stellar Run With New Album
Afrocritik Weekly Music Spotlight: Projects Galore
“This One Is Personal” Review: Tiwa Savage Deeply Explores R&B in Her Most Soul-Baring Album Yet
“After Midnight” Review: Gyakie Consolidates Her Familiar Style on Debut Album
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VIDEOS
Welcome to our YouTube Channel
Books
Afrocritik’s Anticipated Books of 2025
Afrocritik’s Notable Books From Africa in 2024
Afrocritik’s 35 Remarkable African Short Stories in 2024
“And So I Roar” Review: Abi Dare’s Sequel Sends Powerful Message on Female Advocacy
“The Road to the Country” Review: Chigozie Obioma’s Book Explores the Costs of War, Guilt, and the Enduring Survival of Love
Finding Freedom: Aké Arts and Book Festival Returns with a Focus on Diverse Voices
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Culture
Being Feminist And Queer In Nigeria: A Double Whammy
How The Nigerian Educational System Promotes Nepotism
Is Atheism Slowly Catching On In Nigeria?
Feminism And Allyship In Nigeria: Here Is What You Should Know
How Igbo Traditional Religion Intersects With Modern Christianity, And Why The Igbos Easily Embraced The “White Man’s Religion”
Pride Month 2021: Dangerous Myths About LGBTQ+ People In Nigeria That Should Be Left Behind
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Fashion
AMVCA 2026: The Best Celebrity Red Carpet Looks of the Night
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Met Gala 2026: How African Celebrities Showed Up on Fashion’s Biggest Stage
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2026 Grammy Awards: How African Celebrities Brought the Fashion Heat to the Red Carpet
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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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Sports
Anthony Joshua and Francis Ngannou Set for Epic Showdown in Saudi Arabia
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Explainers
Fiction & Poetry
The Last Rule of Theft | Oluseye Fakinlede
Planes and Plains | Ugochukwu Anadị
Burning Bodies | Chourouq Nasri
Open City & Other Poems
Woman Protester, & Praise Song
Poetry: Agbalala, & How Was It You Died?
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