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Afrocritik Announces Key Editorial Promotions
In Conversation: oSHAMO Talks Fuji, Self-Discovery, and What’s Next
How Visa Denials Are Costing African Film Professionals More Than Just a Trip
Features & Essays
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
Is Nigerian Literature Truly Dying?
The Legend of Power Mike: What Can Truly Be Known about Nigeria’s Famous Wrestler of the 20th Century?
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Interviews
Film & TV
In Conversation: Moyosore Akinsete Talks “Love, Olaitan”, Growing Into Filmmaking, and the Fear of Loss
“Blackout” Review: Okechukwu Oku’s Psychological Thriller Is Confident in Its Vision
“Ada Ọmọ Daddy” Review: A Dramatic Critique of Deadbeat Culture or A Deadbeat’s Fantasy?
Souleymane Cissé: The Light That Will Continue to Shine
“Reel Love” Review: Kayode Kasum’s Film Falls Victim to Overused Tropes
“Love Lockdown” Review: Lyndsey F. Efejuku’s Erotic Lockdown Romance Wants to Say Something About Love
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Music
Top Predictions for Africa’s Music Landscape in 2025
Inside the Mercy Chinwo and EeZee Conceptz Fallout
East Africa’s Altè Movement: A New Era of Hybrid Sound
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
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Fashion
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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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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