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“Readers Will Bring All Kinds of Meaning to Your Work”: Uche Okonkwo, In Conversation with Afrocritik
“Lagos Lover Boy” Review: Ric Hassani Crafts a Cohesive Portrait of Urban Romance
“Ms. Kanyin” Review: Jerry Ossaiʼs Wannabe Horror Flick is Forgettable
Features & Essays
Why Nigerian Parents Hate Headphones
Are African Wives Doing Away with the Sacrocancy in Domestic Cooking?
From Hood Boy to Billionaire Dreams, What Does Jeriq’s Rise Represent for the Nigerian Trap Culture?
Female-Engineered Domestic Violence is as Wrong As its Gender Flipside
The “Umuada” is Striking Newer Chords in Cultural Dynamism and Feminism in Igboland
10 Activists in Africa and the Diaspora Changing the LGBTQ+ Narrative
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“Far from Home” Review: Netflix’s Formulaic Nigerian Young Adult Series is Bingeable but Falls Short
Eleven Movies Coming to your Screens this December and Beyond
“Nafsi” Review: A Surrogacy Gone Wrong Jeopardises Relationships in Kenyan Feature
Adeoluwa Owu’s “The Griot” is Simple and Soothing but Fails to Reach its Potential as an Epic
“The Woman King” Review: Revisionist History in an Otherwise Excellent Hollywood African Historical Epic
Ryan Coogler Shows Masterly Filmmaking in Marvel’s Newest Creation, “Black Panther: Wakanda Forever”
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Music
Afrocritik’s 2023 Top 25 African Music Projects
Afro-Pop Star, Oxlade, Releases Two-Track Pack, “Katigori/Piano”
Nairobi Rock Sensation, Lone Tree, Unveils New Single, “Holding On”
“Blue Hour Notes” Review: Faith Moyosore Agboola’s Debut Spoken Word EP Explores Vulnerability, Despair, Hope, and Love
“Masta” Review: Tim Lyre’s New EP Chronicles His Artistic Evolution
“Body, Soul, & Spirit” Review: Joeboy Expands on Past Work With New EP
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2025 AMVCA: How the Stars Lit up the Night With Style
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What Africa Wore to the Met Gala 2025: Fashion, Symbolism, and the Limits of Black Dandyism
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