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“Agesinkole: King of Thieves 2” Review: Femi Adebayo’s Yoruba Epic Has the Architecture of Greatness But an Overwritten Screenplay
After the Peak: What Is Next for Afrobeats?
Zaylevelten, Mavo: The Case for the Nouveau Underground
Features & Essays
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
What is Bongo’s True Identity?
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Interviews
Film & TV
The Success of “Sinners” at the Nigerian Box Office: Five Lessons for Nollywood
“The Masked King” Review: Uduak-Obong Patrick’s Historical Drama Is Dampened by Its Wobbly Political Consciousness
“Landline” Review: Dele Doherty’s Debut Feature Is Held Back by Its Own Ambition
“Meet the Khumalos” Review: Will South African Cinema Ever Move Beyond Forbidden Love Tropes?
“Radio Voice” Review: Strong Performances and a Human Story Ground Isioma Osaje’s Warm Drama
“Family Brouhaha” Review: Femi Adebayo’s Solo Debut Is a Dysfunctional Film About a Dysfunctional Family
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Music
Afrocritik’s Weekly Music Spotlight: Something Different
“I Dream In Color” Review: Magixx’s Debut Album Offers an Unfiltered Look Into His Mind
“Best of Both Worlds” Review: Kel-P and Wande Coal’s EP Struggles to Meet Expectations
Will Arewa Music Be the Next Big Wave in Contemporary Nigerian Pop?
Afrocritik’s Weekly Music Spotlight: Buttery Smooth
“Onorato” Review: Ajebo Hustlers Flex Their Sonic Consistency with New EP
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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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