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Martha Ehinome’s Executive-Produced “Man of Her Dreams” Wraps Production
“Fuji: A Opera” Delivers Its Most Expansive Edition Yet With Fuji Vibrations 2025
“The Heart is a Muscle” Review: Imran Hamdulay’s Debut Feature Traces the Wounds We Inherit and the Ones We Try to Heal
Features & Essays
The Man of the Moment: Will Portable’s Eccentricity Be the End of His Music Career?
“Iyanu: Child of Wonder” HBO Adaptation: Nigeria’s Animation Industry, and the Nigerian Factor
Will the Virtual Culture be the Future Working Environment of Africa?
How Technology is Redefining the Work Culture in Africa
How Artists Are Promoting African Culture and Heritage through Digital Media
The Nigerian Comedy Industry is in Need of Structure and International Exposure
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Film & TV
“Orisa” Review: Odunlade Adekola’s Historical Picture Eschews Realism for Theatrics But Doesn’t Quite Stick the Landing
“Dinner” Review: Jay Franklyn Jituboh’s Romantic Thriller Misreads Its Premise of Feminine Infidelity
“Soon Comes Night” Review: In This South African Crime Drama, There Are No Heroes
2024 Pan African Film & Arts Festival (PAFF) Kicks Off on Feb 6
The Nollywood Mystery Thriller: Sometimes It’s Elementary, and Sometimes There’s None
Sundance 2024: In Daphne Matziaraki and Peter Murimi’s “The Battle for Laikipia”, Climate Change Adds Salt to Festering Sociopolitical Wounds
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Music
20 Emerging African Artistes Who Should Be on Your Radar
Tyla Cements Superstar Potential With Debut Album
“OG Unkle Killz” Review: Ikechukwu’s Latest Project is a Reverent Tribute to His Peak
Afrocritik Weekly Music Spotlight 2024: Week 8
Emeka Nwokedi: A Classical Music Conductor of International Repute
Director Pink: Standing Out as a Music Video Director in a Crowded Music Industry
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