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AT THE ALTAR | Poem By Rutendo Chichaya
Afrocritik’s Most Anticipated Books of 2026
Documentary Spotlight: “Shine”
Features & Essays
25 Queer Books from African and African Diasporan Writers
Ama Ata Aidoo: 10 Things You May Not Have Known About The Ghanaian Feminist Writer
Much Ado about the Politics of Fuel Subsidy Removal in Nigeria
The Annual AMVCA’s Category Problem: Should TV Productions Be Competing with Films?
Seun Kuti Protests with His Fist and Voice; What Would Fela Have Done Differently?
The Saint We Called Obi: A Nostalgic Glance at the Calm-Faced Nollywood James Bond
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Interviews
Film & TV
“Mr Easy Loo” Review: The Mandla Ngcongwane-Directed Film Is a Humorous Critique of Apartheid Era South Africa
“Katangari Goes to Town” Review: Reuben Reng’s Film Is a Commendable Attempt at a Nigerian Whodunit
“Dahomey” Review: Mati Diop’s Documentary is a Powerful Commentary on Decolonisation
“Christmas in Lagos” Review: Jade Osiberu’s Latest Film Falls Short of Christmas Romcom Standards
“Seven Doors” Review: Femi Adebayo’s Directorial Debut is Impressive
10 African Movies to Watch for a Good Laugh
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Music
Afrocritik’s 25 Emerging African Artistes Worth Listening To in 2025
“Taigwa Goma” Review: 4Mr Frank White Displays a Seamless Harmony in His Afro-Swing Rap
Afrocritik’s 2024 Top 100 African Songs
“Recess” Review: Joshua Baraka’s Growth on Full Display in New EP
Black Man Bulala: Examining Odumodublvck’s Verse on “Olufunmi Reimagined”
Afrocritik’s 2024 Top 50 African Music Projects
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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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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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