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“the village’s elegy” & “A sonnet is fighting absolution” | Poems by Josiane Kouagheu
“Over the Bridge” Review: Tolu Ajayi’s Film Explores Nigeria’s Systematic Rot and the Lives It Unravels
The Classical Warmth of Annabel Joseph Ojoboh’s Music
Features & Essays
Calling “Revenge Porn” What It Is: Another Form of Internet-Based Sexual Assault
In Defense of the Migrant Population: How Nigerian Migrants Abroad Contribute to Western Countries’ Economy
Flooding in Nigeria Has Become a Continuous Humanitarian Crisis
20 Emerging African Artistes Poised to Stun the World
The Architecture of Literary Prizes: What Does the Future Hold for the NLNG Nigeria Prize for Literature?
Ethnic Diversity in the British Parliament: 10 Black Africans Who Have Served as Members of Parliament
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Film & TV
Moses Olaiya’s “Mosebolatan” Heralded an Age for Comedy in the Nigerian Film Industry
“The Black Book” Review: The Editi Effiong-Directed Film Is a Reflection of Nigeria’s Socio-Political Realities
“Mami Wata” Review: The C.J. “Fiery” Obasi-Directed Drama is Bold, Beautiful, and Makes a Political Statement
“A Young Time Ago” Review: Subtle but Visible Misogyny Takes Front Row in the Tolu Lordtanner-Directed Drama
“Can You See Us?” Review: This Stereotype-Defying Zambian Netflix Debut about Albinism is Elevated by Impressive Acting
“Love, Sex and 30 Candles” Review: The Feminist Undertone in Stephania Zwane-Directed Film is Its Saving Grace
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Music
Afrocritik Weekly Music Spotlight 2024: Week 5
“This Is Me (Live)” Review: Frida Amani Presents a Resounding Bongo Rap EP
Logos Olori’s Enjoyable Self-Titled Debut EP is Undercut by Bland Lyricism and Delivery
An African Love Songs Playlist for Valentine’s Day
Afrocritik Weekly Music Spotlight 2024: Week 4
The Rise of Arbantone: A New Stable Among Kenyan Music Genres?
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