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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
“Ojirami: The Weeping River” Review: Immigration, Myth, and Tragedy Swirl in a Play About the Potency of a Deity
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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Film & TV
“Merry Men 3: Nemesis” Review: Netflix Strikes Again With Third January Cringe Fest
African Cinema on the Rise: 13 African Titles Gracing the 74th Berlinale
AMVCA Gears Up for Its 10th Edition, Calls for Submissions
FESPACO: An Enduring Role in Promoting African Cinema
“A Weekend to Forget” Review: Damola Ademola’s Entertaining Mystery Confounds Itself
“WAR: Wrath and Revenge” Review: A Simplistic Foray into Machiavellian Intrigue
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Music
Afrocritik Weekly Music Spotlight 2024: Week 7
“Overwhelming Victory” Review: Mercy Chinwo Leans Into Her Strengths on New Album
“Sideh Kai” Review: IllBliss Aims Big but Falls Short
“More Kashcoming” Review: Kashcoming Delivers an Incomplete Rendition on New EP
“Blessed” Review: Berri Tiga’s Debut is Proof of an Artiste Ready for Greatness
“Grace” Review: Otile Brown’s Undertaking is Still to Delight the Romantics
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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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Bold, Regal, and Stylish: African Artistes at the 2025 Grammys
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10 African Fashion Events to Watch Out for in 2025
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