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Saviour for the Condemned: A Review of Joseph Nnamdi’s Debut Novel
AFRIFF 2026: “Adanne” Is a Familiar Story of Mothers, Daughters and Inherited Expectations
Film Africa 2026: The Fragility of Faith, Innocence and Belonging In “God Sleeps On Sundays”, “Echoes Beneath the Hill”, and “Zizou”
Features & Essays
What is Bongo’s True Identity?
We Don’t Need New Names
Lafalaise Dion Is “Cowrying” through Fashion and Spirituality
Storyteller and Gentleman: What is the Measure of Mike Ejeagha’s Influence on Highlife Music in Nigeria?
Why We Can’t Get over the Allure of Nostalgia in Pop Culture
Bisa Kdei on “Original,” the Fragility of Life, Career Longevity, and Future Plans: In Conversation with Afrocritik
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Interviews
Film & TV
In Conversation: Wingonia Ikpi Talks Making “The Lost Days”, the First Features Project, and What’s Next
Maia Lekow And Christopher King Want To Make Films About Kenyan Women With A Strong Sense Of Agency
“Matabeleland” Review: Nyasha Kadandara’s Documentary Contends With Zimbabwe’s Troubled Past
“Making a Film Anywhere in Africa Is a Struggle”: In Conversation With Tunisian Filmmaker, Amel Guellaty, Director of “Where the Wind Comes From”
“Ms. Kanyin” Review: Jerry Ossaiʼs Wannabe Horror Flick is Forgettable
Dear Nollywood, Stop Using Sexual Violence as a Plot Device
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Music
Afrocritik’s Editorial Spotlight for Valentine’s Day 2025
“Don’t Hold Me Back” Review: Liya’s Strength Shines in New EP
BoyPee, Hyce & Brown Joel Find Their Rhythm on “Synergy”
In Conversation: OluwaMillar Talks “Agbalagbi”, Creativity, and Breaking Barriers
“Black and White” Review: Terry Apala’s New Project Stretches Apala’s Sonic Possibilities
Afrocritik’s Monthly Music Spotlight: January 2025
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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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