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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
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?
Seun Kuti Protests with His Fist and Voice; What Would Fela Have Done Differently?
The Saint We Called Obi: A Nostalgic Glance at the Calm-Faced Nollywood James Bond
Is Nigerian Literature Truly Dying?
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Interviews
Film & TV
“The Moral High Court” Review: Chisom Ifeakandu’s Film Puts Patriarchy on Trial
20 Prolific Cinematographer-Director Collaborations in Nollywood
“Inside Job” Review: Jacky Vike and Mammito Eunice Find Kenya’s Laugh Lines and Its Pain Points
How Geoblocking and Cinema Scheduling Bias Undermine Distribution in Nollywood
“My Mother Is a Witch” Review: Niyi Akinmolayan Explores Intergenerational Trauma in Provocative Drama
“Red Circle” Review: Akay Mason’s Energetic Thriller Delivers on Its Ambitions
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Music
“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
Afrocritik’s Weekly Music Spotlight: Energy Boost
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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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