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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
Nollywood’s Takeover in the Forthcoming 2023 Elections: A Possible Political Revolution, or Not?
Can Nigerian Music Be More Eco-Sensitive?
Hike in Food Prices is Causing a Shift in Consumer Preference in Africa, Research Now Says
Despite Africa’s Illustrious Political Past, Why Are African Countries Failing?
The Single Narrative About Africa is Exhausting
Echezonachukwu Nduka and the Music of Poetry
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Film & TV
“Safari” Review: Bill Afwani-Directed Film Is a Successful Casting of Child Actors
“Gangs of Lagos” Review: In Jade Osiberu’s Crime Thriller, Pre-Electoral Manipulation, Defeated Dreams, and Friendship Take Center Stage
“Unseen” Review: Travis Taute’s Crime Thriller is an Attempted Exploration of the Life of a Working-Class Woman
“African Folktales Reimagined” Review: Netflix and UNESCO Present a Timeless Glorification of Africa’s Legends and History
“The Trade” Review: Jade Osiberu Serves Thrills in this True Crime-Inspired Hidden Gem
“Strangers” Review: Does Biodun Stephen’s Mystery Drama Pass as a Good Film?
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Music
Logos Olori’s Enjoyable Self-Titled Debut EP is Undercut by Bland Lyricism and Delivery
An African Love Songs Playlist for Valentine’s Day
Afrocritik Weekly Music Spotlight 2024: Week 4
The Rise of Arbantone: A New Stable Among Kenyan Music Genres?
“Once Upon A Cat” Review: Iyanya Struggles for Artistic Control on New LP
“Evil Twin” Is a Poignant Reminder of PsychoYP and Jeriq’s Insane Potential
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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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