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The Life and Works of Meja Mwangi, Kenya’s Great Chronicler
ADIFF 2025: Sana Na N’Hada Examines the Cost of Freedom and the Weight of Memory in “Nome”
African Projects Dominate at 2025 Red Sea Souk Awards + Full List of Winners
Features & Essays
Onyeka Nwelue is Providing a New Way of Seeing and Extending Legacies
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
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Film & TV
“A Green Fever” Review: Taiwo Egunjobi’s Historical Suspense Thriller is Incoherent and Corny, Yet Commendable
“One Too Many” Review: “Sorrows, Sorrows, Prayers” for the Listless Moments in the Kayode Kasum-Directed Film
“It Blooms in June” Review: Korede Azeez’s Coming-of-Age Movie Needs to Come of Age
“Daydreamers” Review: Vincenzo Cavallo’s Film Explores the Dreams and Aspirations of Eastleigh’s Somali Immigrants
Film Festival Circuits, a New Frontier for Nigerian Indie Filmmakers?
Mati Diop’s Documentary, “Dahomey”, Wins Golden Bear for Best Film at the 74th Berlinale
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Music
“Jiggy Forever” Review: Young Jonn’s Clear-Cut Delivery Dulls the Excitement of His Debut Album
“Shakespopi” Review: Shallipopi’s Album Fails to Justify Its Existence
Afrocritik Weekly Music Spotlight 2024: Week 9
Mara: What to Know About the Viral Hyper-Fast and Energetic Sound
“Love Language” Review: Fancy Fingers’ Album is an Ode to Africa’s Female Vocalists
“Better Days” Review: Candy Bleakz Delivers an Impressive Sophomore Project
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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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10 African Fashion Events to Watch Out for in 2025
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