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Is the African Literary Critic and the Institution of Criticism Under Attack?
“Love is a Machinery” Review: Anendlessocean Gives Romance the Album It Deserves
Can Democracy Work With a Hungry Voter?
Features & Essays
Is This the Age of Nollywood at Domestic Box Office?
Africanfuturism: A Literary Plane of Infinite Possibilities for Africa’s Future
Nollywood and the Evolution of the Sacred Feminine
The Power of Protest: When Challenging Bad Governance is Justified
Will Rwanda Become the New Hub for Arts and Entertainment in East Africa?
Social Entrepreneurship in Africa: A Case of the Nigerian and Kenyan Social Enterprise Ecosystem
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Interviews
“The Films I Make Are About Aspects of What I’ve Seen and Experienced’’: South African Filmmaker, Ian Gabriel, on the Authenticity in Creating the Crime-Thriller, “Death of a Whistleblower”
“The Fun Projects Are the Most Challenging”: Femi Dapson, on Securing a Spot as a Top Music Video Producer in Nigeria
“The Idea For My Film ‘Orah’ Came After My Younger Brother Was Killed By SARS Officers”: Nigerian-Canadian Filmmaker, Lonzo Nzekwe, in Conversation with Afrocritik
Interview: Novelist, Famous Chukwuemeka, on Exploring the Extremes of Beliefs and Devotion with Debut Novel, “We Will Live Again”
Zambia is Courting Continental Attention with “Can You See Us?”: Afrocritik in Conversation with Kenny Mumba, Director of the Country’s Netflix Debut
Film Editors as Architects of a Film’s Vision and Goal: Biyi Toluwalase, Notable for Editing “Gangs of Lagos” and “Sista,” in Conversation with Afrocritik
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Film & TV
“Gingerrr” Review: Yemi Morafa’s Film Is a More Chaotic, Less Memorable “Sugar Rush”
The Annual Film Mischief (TAFM) 2025: Film Reviews
In “Khartoum”, Five Wandering Souls Display Resilience As A Fragile Nation Unravels
“Thinline” Review: Nollywood’s Dangerous Blind Spot on Male Sexual Assault and the Illusion of Morality
BFI London Film Festival 2025: In Conversation With Vincho Nchogu and Josh Olaoluwa, Director and Producer of “One Woman One Bra”
Nollywood and Its Complicated Relationship with the Oscars
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Music
“Goodgirl” Review: GoodGirl LA Reintroduces Her Vibrant Uniqueness on New EP
In Conversation: Fimí Talks Rap, Creative Confidence, and Finding Her Voice Through Music
Afrocritik Weekly Music Spotlight: Second Bridge Week
“No Sign of Weakness” Review: Burna Boy’s LP Is Technical, Polished, Yet Safely Played
“Paradise Now” Review: Obongjayar’s Sophomore Album Is a Fitting Treatise on Self
10 Artistes Leading the Afro-Gospel Sound in 2025
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VIDEOS
Welcome to our YouTube Channel
Books
Tolu’ A. Akinyemi’s “Black Does Not Equal Inferior” Invokes the Spirit of the Harlem Renaissance
Onyeka Nwelue Set to Release a New Book, “The Nigerian Mafia: Johannesburg”
“On the Train to Hell” Review: Throes and Consciousness Helm Tolu A Akinyemi’s Poetry Collection
“Love Grows Stronger in Death” Anthology Explores the Depth of Human Emotions Amidst Mortality
Ayòbámi Adébáyò and Caleb Azumah Nelson Shortlisted for the 2024 Dylan Thomas Prize
The Portrayal of Place, Dream, and History in Tares Oburumu’s “Origin of Syma Species”
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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
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
Explainers
Fiction & Poetry
Haunting
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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