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“MKO” Documentary Review: An Admissible Portrait of A Democratic Hero
“Agbara Nla: The Return” Is A Remake Driven by Faith and Nostalgia
In Conversation with Keith Shiri on Curating Film Africa 2026 and the Festival’s Women-Centred Programming
Features & Essays
Oliver De Coque’s Swansong: What is the Legacy of the Fabled Nigerian Guitarist?
Beyond the World Record, Hilda Baci’s Cook-a-thon Unveils Nigerians’ Relationship with Food and Propriety
25 Queer Books from African and African Diasporan Writers
Ama Ata Aidoo: 10 Things You May Not Have Known About The Ghanaian Feminist Writer
Much Ado about the Politics of Fuel Subsidy Removal in Nigeria
The Annual AMVCA’s Category Problem: Should TV Productions Be Competing with Films?
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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: Rhythm & Blues
“Did I Lie” Review: Cina Soul Reminds Us of Her Pedigree on New Album
Afrocritik’s Weekly Music Spotlight: Chill Vibes
Why Is There a Dearth of Protest Music in Nigeria Today?
“Moonflower” Review: MiDi KwaKwa Explores Romantic Experiences on New EP
It’s 2025 and We Still Don’t Understand Intellectual Property in Kenya
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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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