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Dika Ofoma’s “An Enugu Homecoming” to Premiere on 31st January
Olive Nwosu’s “Lady”, Will Niava’s “Jazz Infernal” Win Jury Awards at 2026 Sundance Film Festival
“How to Save a Drowning Man” | Poem by Jean Wathugu
Features & Essays
What Exactly is the Consequence of Internet Cancel Culture?
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?
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Film & TV
Is This the Age of Nollywood at Domestic Box Office?
“Inkabi” Review: Michelle Tiren’s Performance is the Only Spark in Norman Maake’s Crime Thriller
In Conversation: Nollywood Film Editor, Martini Akande, Dissects the Anatomy of Editing a Memorable Scene
“Japa!” Review: Isioma Osaje’s Speculative Debut Feature is Convoluted Beyond Genre Expectations
Nollywood and the Evolution of the Sacred Feminine
Moussa Sène Absa’s “Xalé” Set to Tour Nairobi in March
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Music
“Mtindo” Review: Boutross Delivers A Collaborations Galore in His New Album
“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
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