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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
Seven Talented Nollywood Actors on the Cusp of Stardom
Umu Obiligbo and the Igbo Music of Life
The “Hook-Up Culture” Is Changing the Way We View Modern Dating and Relationships
Women, Fashion And The Amazing Role Body Type Plays
The Ruler vs The Ruled: Is Free Speech Politicised Against Marginalised Groups?
Out with the Weird Hustle Culture, In with “Quiet Quitting”
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Film & TV
“Mami Wata” Review: The C.J. “Fiery” Obasi-Directed Drama is Bold, Beautiful, and Makes a Political Statement
“A Young Time Ago” Review: Subtle but Visible Misogyny Takes Front Row in the Tolu Lordtanner-Directed Drama
“Can You See Us?” Review: This Stereotype-Defying Zambian Netflix Debut about Albinism is Elevated by Impressive Acting
“Love, Sex and 30 Candles” Review: The Feminist Undertone in Stephania Zwane-Directed Film is Its Saving Grace
“The One for Sarah” Review: The Lyndsey Efejuku-Directed Film Audaciously Traverses Romance and Domestic Violence
“Jagun Jagun” Review: The Femi Adebayo-Produced Action-packed Yoruba Epic is Impressive but Forgettable
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Music
“Sideh Kai” Review: IllBliss Aims Big but Falls Short
“More Kashcoming” Review: Kashcoming Delivers an Incomplete Rendition on New EP
“Blessed” Review: Berri Tiga’s Debut is Proof of an Artiste Ready for Greatness
“Grace” Review: Otile Brown’s Undertaking is Still to Delight the Romantics
Afrocritik Monthly Editorial Playlist: February 2024
Rising Sensation, DumomiTheJig Releases New Single “Butterfly”
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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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10 African Fashion Events to Watch Out for in 2025
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