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Afrocritik’s Weekly Music Spotlight: Soulful Rhythms
Two African Films, “Angel in the Stone” and “Before 16”, Shortlisted for 2025 Sony Future Filmmaker Award
“Transit”, “Leaven”, & ”Arrive in Your Skeleton” | Poems by Abiodun Salako
Features & Essays
Ibadan: The Cultural Stalk of Literature in Nigeria
How Tightly is Africa Embracing This Era of Fashion Fluidity?
Billboard’s US Afrobeats Chart: Is There Anything to Be Thankful For?
Five West African Women Folk Musicians That Might Just be Worth Knowing
The Hyena Men of Nigeria: A Threat to Nature and Human Life?
Nollywood’s Sexist Tropes and the Stereotypical Portrayal of Women in Contemporary Nigerian Movies
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Film & TV
“Silent Baron” Review: An Easily Forgettable Tale of Blinded Trust and Stolen Innocence
“Rise” Review: Akin Omotoso Directs a Family-Friendly Sports Biopic for Disney
“Ile Owo” Review: Dare Olaitan’s Horror Film Is Heavy on Suspense and Light on Terror
“Glamour Girls” Review: Play Network Ruins Yet Another Nollywood Classic
Netflix’s “Trees of Peace” Review: Saved by the Will to Survive
“Collision” Review: Half-Hearted Political Statements, and a Struggling Plot Collide in South African Netflix Crime Thriller
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Music
“Solace” Review: Uncle Waffles Shows Off Her Brilliancy on Her Amapiano-Pivoted EP
“The African Serenades” Review: Echezonachukwu Nduka Sets the Pace For African Art Music
“THREEE” Review: KLY’s Album Reflects on Love, Lust, and Internal Conflicts
“Rush” Review: Hamzaa Explores Vulnerability in Her New EP
“Africa Unite” Review: Reggae Meets Afrobeats on Bob Marley’s Reimagined LP
The Sarz Academy Garners an “A” for Effort on “Memories That Last Forever 2”
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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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