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How Contemporary Nollywood Uses Humour to Both Expose and Excuse the Politics of Marriage
CAF’s Non-Decision on FIFA Forward Enterprise Fits a Pattern
Afrocritik Music Spotlight: Rhythm & Pulse
Features & Essays
What We Speak Of When We Talk About Osita Osadebe and Highlife Music
The Ultimate Guide to Upcoming Afrobeats Festivals in 2023
Afrocritik’s Top 30 Songs in the First Half of 2023
African Animations Are Becoming a New, Exciting Frontier for African Storytelling
The 2023 Caine Prize Shortlist Leaves Bright and Dull Lights
Sondeka Awards: How Creatives Garage Continues to Empower Kenyan & African Creatives
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Interviews
Film & TV
How Geoblocking and Cinema Scheduling Bias Undermine Distribution in Nollywood
“My Mother Is a Witch” Review: Niyi Akinmolayan Explores Intergenerational Trauma in Provocative Drama
“Red Circle” Review: Akay Mason’s Energetic Thriller Delivers on Its Ambitions
“Fortune Favours the Bold”: In Conversation With the Cast and Crew of “Red Circle”
“The Party” Review: Where’s the Sleuthing or Mystery in This Nollywood Whodunit?
“MTV Shuga Mashariki” Review: The New Shuga Iteration Has A Shiny Surface With A Hollow Core
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Music
“Barrystar Vol 1” Review: Barry Jhay Pays Homage to Barrister With a Soul-Stirring Debut Album
Afrocritik’s Weekly Music Spotlight: Refreshment
“Reflection Station” Review: Tay Iwar Is Mastering His Craft on New EP
“Iron Boy” Review: Black Sherif’s New Album Is a Raw Exploration of Success and Struggle
Afrocritik’s Weekly Music Spotlight: Something Different
“The Book of Jones 1st Chapter” Review: Khaligraph Jones Employs Old Tricks for New Triumph
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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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