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The Will to Leave and Live: A Review of Emmanuel Eruemulor’s “Unwanted”
Lights, Camera, Africa! Returns to Lagos After Six Years With “Convivium: In Gathering”
Sundance Institute Names Rami Jarboui Among 2026 Documentary Fund Grantees
Features & Essays
Towards a Better Understanding of the Igbo Identity
Burna Boy’s “Big 7” and Forthcoming “I Told Them” Album Herald a New Exciting Chapter in His Artistic Journey
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
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Interviews
Film & TV
“Catalog” Review: The Egyptian Netflix Series Is Quiet But Speaks Volumes
“To Kill a Monkey” Review: Kemi Adetiba’s Exciting Crime Thriller Series Is a Lesson in How Not to Tell a Story
“The Lost Days” Review: Wingonia Ikpi’s First Feature Starts Strong but Crashes Halfway into the Journey
“Sayari” Review: Omar Hamza’s Film Maps Love Across Kenya’s Social Terrain
“Freedom Way” Review: Nigeria’s Systemic Dysfunction Is on Loud Display in Afolabi Olalekan’s Debut Feature
“Unclaimed” Review: Biodun Stephen’s Psychological Drama Explores Interesting Themes but Falls Flat
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Music
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
10 Artistes Expanding the Soundscape of Street Pop in Nigeria Today
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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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