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C.J. Obasi to Direct Julius Achon Biopic “The Boy Who Runs”
Tribeca Film Festival 2026: Mohamed Taher Talks Fatherhood, Vulnerability, and the Conversations We Avoid in “32B”
10 African Films About Brotherhood and Male Friendship
Features & Essays
Has the “Great Nigerian Novel” Been Written?
From Amaka Igwe to Jade Osiberu, Nollywood Female Filmmakers Are the New King of Boys
Ranking Davido’s Albums through the Course of his Career
Forbes 30 under-30: True Cases of Young Achievers, or Simply “Brother Bernards?”
Jewelry and Ornaments: What is their Significance in African Culture?
5 Festivals for African Filmmakers to Look out For
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Interviews
Film & TV
“Labake Olododo” Review: Biodun Stephen’s Yoruba Epic Is a Gender-Flipped Samson-And-Delilah Narrative Starring Iyabo Ojo
The Biggest Snubs and Surprises of the 2025 AMVCA Nominations
“Finding Me” Review: Funke Akindele’s Mistitled Dramedy Struggles With an Identity Crisis
“Suky” Review: Ola Cardoso’s Prison-Set, Revenge-Themed Sports Drama Is Tepid
Omoni Oboli and Nollywood’s Dilemma With Copyright Infringement
The Annual AMVCA’s Category Problem: Should TV Productions Be Competing with Films?
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Music
Afrocritik’s Weekly Music Spotlight: Zouk Party
“Just When You Thought It Was Over” Review: Toye Aru and Derrick UGC Combine Magnificently on Joint Album
“Colourful Generation” Review: Bruce Melodie Proves He Is Still A Top-Notch Crooner
Afrocritik’s Editorial Spotlight for Valentine’s Day 2025
“Don’t Hold Me Back” Review: Liya’s Strength Shines in New EP
BoyPee, Hyce & Brown Joel Find Their Rhythm on “Synergy”
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Fashion
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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