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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
What is Humanity’s Fuss about Strongmen?
These 5 Nigerian Skit Makers are Blurring the Lines between Comedy & Music
Are African Literary Magazines Moving in the Right Direction?
“Like and Follow:” Why Do Numbers Matter on Obasanjo’s Internet?
Celestine Ukwu’s Musical Philosophy: Is This the Sweet Spot of Highlife?
Has the INEC Fufilled All Its Promises?
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Interviews
Film & TV
Afrocritik’s 25 Remarkable African Films of 2024
“Suspicion” Review: Tosin Igho Explores African Spirituality from an Intriguing Perspective
10 African Movies You Can’t Miss This Holiday Season
All You Need to Know about “77: The FESTAC Conspiracy”
“A Ghetto Love Story” Review: Basketmouth’s First Foray Into Film Production Is Impressive
“Umjolo: The Gone Girl” Review: Fikile Mogodi’s Debut Feature Lacks Substance
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Music
Juliana Ehada Showcases Sonic Dynamism On “Smile Until The Devil Cries”
How Fuji Music Influences the Modern Afro-Pop Soundscape
The Best Nigerian Music Videos Released So Far in 2024
20 Nigerian Underground Songs That Should Be On Your Playlist
10 Nigerian Music Snippets Left Unreleased
Top 10 Conscious Songs from East Africa
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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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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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