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“Readers Will Bring All Kinds of Meaning to Your Work”: Uche Okonkwo, In Conversation with Afrocritik
“Lagos Lover Boy” Review: Ric Hassani Crafts a Cohesive Portrait of Urban Romance
“Ms. Kanyin” Review: Jerry Ossaiʼs Wannabe Horror Flick is Forgettable
Features & Essays
Ishiagu Fabric: How the Wrong Totem Became the Symbol of the Igbo People
Sustainable Fashion is Achievable in Africa
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
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Film & TV
“Blood Vessel” Review: Another Politically-Charged Film That Slips Into Inertia
12 African Series You May Have Missed in 2023
“Come With Me” Review: Simplicity Takes Centre Stage in Baaj Adebule’s Directorial Debut
“Nganù” Review: Kang Quintus’ Film is an Audacious Exploration of Trauma and Redemption
“The Origin: Madam Koi Koi” Review: Jay Franklyn Jituboh-Directed Flick Reiterates Nollywood’s Challenge with Handling Sensitive Subjects
“Adire” Review: Is Admirable Acting Enough to Carry a Story?
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Music
“OG Unkle Killz” Review: Ikechukwu’s Latest Project is a Reverent Tribute to His Peak
Afrocritik Weekly Music Spotlight 2024: Week 8
Emeka Nwokedi: A Classical Music Conductor of International Repute
Director Pink: Standing Out as a Music Video Director in a Crowded Music Industry
All the Fuss About Afrobeats, Its “Way-Pavers” and Frontliners
“Loveless” EP Review: Lojay and JAE5 Take a Roller-Coaster Ride Through Modern Romance
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2025 AMVCA: How the Stars Lit up the Night With Style
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What Africa Wore to the Met Gala 2025: Fashion, Symbolism, and the Limits of Black Dandyism
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