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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
Reconciling the Loss of the Mother Tongue, and Learning to Speak It Again
TikTok Is Bringing Down Obstacles to Music Promotion; But It Is Also Creating New Ones
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
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“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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“Love is War” Review: IAMDDB Confidently Struts Her Skills on New Album
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
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2025 AMVCA: How the Stars Lit up the Night With Style
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