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The Will to Leave and Live: A Review of Emmanuel Eruemulor’s “Unwanted”
Lights, Camera, Africa! Returns to Lagos After Six Years With “Convivium: In Gathering”
Sundance Institute Names Rami Jarboui Among 2026 Documentary Fund Grantees
Features & Essays
Has the INEC Fufilled All Its Promises?
Do Africans Need White Weddings?
Is the Igbo Apprenticeship System Alive and Well?
“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?
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Interviews
Film & TV
Nollywood Needs NollyTube, But Does NollyTube Need Our Brains to Be Turned Off?
“Labake Olododo” Review: Biodun Stephen’s Yoruba Epic Is a Gender-Flipped Samson-And-Delilah Narrative Starring Iyabo Ojo
The Biggest Snubs and Surprises of the 2025 AMVCA Nominations
“Finding Me” Review: Funke Akindele’s Mistitled Dramedy Struggles With an Identity Crisis
“Suky” Review: Ola Cardoso’s Prison-Set, Revenge-Themed Sports Drama Is Tepid
Omoni Oboli and Nollywood’s Dilemma With Copyright Infringement
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Music
East Africa’s Altè Movement: A New Era of Hybrid Sound
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”
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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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