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“Agesinkole: King of Thieves 2” Review: Femi Adebayo’s Yoruba Epic Has the Architecture of Greatness But an Overwritten Screenplay
After the Peak: What Is Next for Afrobeats?
Zaylevelten, Mavo: The Case for the Nouveau Underground
Features & Essays
“My Move into Singing is Not a Transition,” Pheelz: In Conversation with Afrocritik
From Modeling to Acting, “Dark October”’s Chuks Joseph Charts His Transition to Nollywood
What is Fela’s True Legacy?
Branding Beyond Stories: Blessing Abeng is on a Journey to Empowering Africa’s Tech Talents
Ten Love Songs to Binge on this Valentine
What More Do We Really Need to Know About Mammy Water?
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Film & TV
What Happened to Nollywood Sitcoms?
“Tarella: Princess of the Nile” Review: A Nollywood Cinderella Reimagining With Too Little Imagination
“Summer Rain” Review: Adenike Adebayo-Esho’s Film Anchors a Promising Romance That Fizzles Away
“Kash Money” Review: Kenya’s Netflix Release Lacks Dimension And Complexity
“Penance” Review: Awal Abdulfatai’s Film Fails to Deliver on Its Premise
“Something About the Briggs” Review: Bukola Ogunsola’s Film Cleverly Navigates Marital Realities
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Music
Afrocritik’s 25 Emerging African Artistes Worth Listening To in 2025
“Taigwa Goma” Review: 4Mr Frank White Displays a Seamless Harmony in His Afro-Swing Rap
Afrocritik’s 2024 Top 100 African Songs
“Recess” Review: Joshua Baraka’s Growth on Full Display in New EP
Black Man Bulala: Examining Odumodublvck’s Verse on “Olufunmi Reimagined”
Afrocritik’s 2024 Top 50 African Music Projects
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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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