Man of Her Dreams
Fuji: A Opera
The Heart is a Muscle

Features & Essays

International Day of the Girl Child - Afrocritik
Celebrating the International Day of the Girl Child: The Girl Child as a Part of the Digital Generation
Promotional photo for Me & U - Tems - Afrocritik
Tems is Confident in Her Sensuality in Her Latest Single, “Me & U”
Cardinal Rex Lawson - Afrocritik
Cardinal Rex Lawson: The Philosophy and Timeless Artistry of His Music
The Black Book_ Tech Investors - Afrocritik
Funding and Collaboration in Nollywood: What Could “The Black Book” Tech Investors Mean for Filmmakers in Nigeria?
Brooke Bruk-Jackson - Miss Universe Zimbabwe beauty pageant 2023 - Afrocritik
Understanding the Uproar About a White Miss Universe Zimbabwe: Could This Spark Fresh Dialogues on Inclusion and Diversity?
Seven Ancient Civilisations to Emerge from Africa - Afrocritik
Seven Ancient African Civilisations You Should Know About

Interviews

Waje
Transitioning to Gospel Music is Not a Trend: A Conversation with Nigerian Soul Diva, Waje
Chinua Ezenwa-Ohaeto: The Shape of Dreams and Memories
With “Collector of Memories,” Joshua Chizoma is Creating Identities
Dami Ajayi, and the Mission of Creating Unending Voices
From South Sudan to Canada, Amanie Illfated’s Music Charts New Paths
“How I Produced Pheelz’s ‘Finesse’” — Miichkel

Film & TV

Fine Girl
“Fine Girl” Review: Fatimah Gimsay’s Film Is a Subversive Take On Modern Harassment and Female Empowerment
Love, Olaitan
“Love, Olaitan” Review: Moyosore Akinsete’s Short Film Is a Mesmerising Portrait of Love and Loss
This Is Love
“This Is Love” Review: Njoku and Nonso’s Documentary Is a Tender Exploration of Queer Nigerian Love and Identity
Moyosore Akinsete
In Conversation: Moyosore Akinsete Talks “Love, Olaitan”, Growing Into Filmmaking, and the Fear of Loss
Blackout
“Blackout” Review: Okechukwu Oku’s Psychological Thriller Is Confident in Its Vision
Ada Ọmọ Daddy
“Ada Ọmọ Daddy” Review: A Dramatic Critique of Deadbeat Culture or A Deadbeat’s Fantasy?

Music

intellectual property
It’s 2025 and We Still Don’t Understand Intellectual Property in Kenya
Afrocritik monthly spotlight valentine
Afrocritik’s Weekly Music Spotlight: Energy Boost
rap
Odumodublvck & the Never-Ending Fight Over What Nigerian Rap Should Be
Afrocritik monthly spotlight valentine
Afrocritik’s Weekly Music Spotlight: Something Different
I Dream In Color
“I Dream In Color” Review: Magixx’s Debut Album Offers an Unfiltered Look Into His Mind
Best of Both Worlds
“Best of Both Worlds” Review: Kel-P and Wande Coal’s EP Struggles to Meet Expectations

VIDEOS

Welcome to our YouTube Channel

Books

“Rummaging for Omens”: A Review of Nneoma Otuegbe’s book of poetry
A Review of Orode’s “Bring Me Flowers in April”
The Ironies of Patriarchy in Igbo Society: a Review of Cheluchi Onyemelukwe-Onuobia’s “The Son of the House”
In Abi Dare’s “The Girl with the Louding Voice,” Language Plays a Foremost Role in Storytelling
The Son of the House: Cheluchi Onyemelukwe-Onuobia’s Powerful Storytelling Builds an Edifice from an Age-worn Plot
Chibundu Onuzo’s “The Spider King’s Daughter” Fails Tragically in its Literary Bidding

Culture

Fashion

AMVCA

2025 AMVCA: How the Stars Lit up the Night With Style

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AMVCA Cultural Day

10 Celebrities Who Slayed the 2025 AMVCA Cultural Day

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Met Gala
What Africa Wore to the Met Gala 2025: Fashion, Symbolism, and the Limits of Black Dandyism
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2025 Grammy
Bold, Regal, and Stylish: African Artistes at the 2025 Grammys
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Africa Sourcing and Fashion Week
10 African Fashion Events to Watch Out for in 2025
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Sports

Explainers

Fiction & Poetry