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“Zikoko Life” Review: The Unwavering “Female Happiness” Agenda of BluHouse and Big Cabal’s Anthology Series
Michael Afenfia’s “Leave My Bones in Saskatoon” and the Burial of Prose Fiction
Africa’s Football Elite Nominated for the 2025 Ballon d’Or
Features & Essays
The Single Narrative About Africa is Exhausting
Echezonachukwu Nduka and the Music of Poetry
Securing 9 Gold Medals in the 2022 World Athletics Championship is a Good Step for Africans
Are Protests Still Effective in Causing Social Change in Today’s Society?
Donald Oghenechovwe Ekpeki is Charting New Courses in African Speculative Fiction
Tobi Amusan and the Journey to Becoming World Champion
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Film & TV
“Jagun Jagun” Review: The Femi Adebayo-Produced Action-packed Yoruba Epic is Impressive but Forgettable
“Big Nunu’s Little Heist” Review: Andy Krasil’s-Directed Fast-Paced Comedy is a Memorable Watch
“Republic of South Ah SH**t” Review: Once Again, Kagiso Lediga-Directed Film Reiterates His Artistic Depth
“Fatal Seduction” Review: Netflix’s New Series Offers Steamy Temptations But Little Thrill
“Sista” Review: Kehinde Bankole’s Acting in Biodun Stephen-Directed Flick is a Cinematic Representation of Motherhood
“Queen Cleopatra” Review: Jada Pinkett Smith’s Docu-series is a Flawed Romance of a Pre colonial African Monarch
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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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