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“Ọ̀kànjúwà” Review: Inkblot and FilmOne Throw a Mediocre Party with Elementary Moral Lessons
“Map of Her Shadow” Review: Anaïs Cardot Dazzles Softly on Sophomore EP
“Before The Morning Light” Review: Johnny Drille Expands His Prowess on New Album
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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Film & TV
“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
“Family Brouhaha” Review: Femi Adebayo’s Solo Debut Is a Dysfunctional Film About a Dysfunctional Family
“A Lagos Love Story” Review: Where’s the Love in This Inkblot’s Romance Drama?
“Recall” Review: Kunle Afolayan’s Return to the Big Screens Is Largely Forgettable
Nollywood Needs NollyTube, But Does NollyTube Need Our Brains to Be Turned Off?
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Music
“Best of Both Worlds” Review: Kel-P and Wande Coal’s EP Struggles to Meet Expectations
Will Arewa Music Be the Next Big Wave in Contemporary Nigerian Pop?
Afrocritik’s Weekly Music Spotlight: Buttery Smooth
“Onorato” Review: Ajebo Hustlers Flex Their Sonic Consistency with New EP
“Children of Africa” Review: Seyi Vibez’s EP Is an Unorthodox Comeback That Works
Afrocritik’s Weekly Music Spotlight: Zouk Party
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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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