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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
Oladapo Ogunjobi is Harnessing Augmented Reality to Re-define African Art: In Conversation with Afrocritik
Oliver De Coque’s Swansong: What is the Legacy of the Fabled Nigerian Guitarist?
Beyond the World Record, Hilda Baci’s Cook-a-thon Unveils Nigerians’ Relationship with Food and Propriety
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
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Interviews
Film & TV
“Owambe Thieves” Review: Zubby Michael Is the Only Upside to This Pandemonium of a Movie
The Success of “Sinners” at the Nigerian Box Office: Five Lessons for Nollywood
“The Masked King” Review: Uduak-Obong Patrick’s Historical Drama Is Dampened by Its Wobbly Political Consciousness
“Landline” Review: Dele Doherty’s Debut Feature Is Held Back by Its Own Ambition
“Meet the Khumalos” Review: Will South African Cinema Ever Move Beyond Forbidden Love Tropes?
“Radio Voice” Review: Strong Performances and a Human Story Ground Isioma Osaje’s Warm Drama
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Music
Why Is There a Dearth of Protest Music in Nigeria Today?
“Moonflower” Review: MiDi KwaKwa Explores Romantic Experiences on New EP
It’s 2025 and We Still Don’t Understand Intellectual Property in Kenya
Afrocritik’s Weekly Music Spotlight: Energy Boost
Odumodublvck & the Never-Ending Fight Over What Nigerian Rap Should Be
Afrocritik’s Weekly Music Spotlight: Something Different
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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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