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Afrocritik Announces Key Editorial Promotions
In Conversation: oSHAMO Talks Fuji, Self-Discovery, and What’s Next
How Visa Denials Are Costing African Film Professionals More Than Just a Trip
Features & Essays
Why South Africa is Attracting Foreign Filmmakers
What Happens When Social Media Becomes the First Resort in Emergencies?
African Feminine Identity, and the Recent Rise of the Afro Hair Culture
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?
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Film & TV
Sundance 2024: Bruno Mourral’s Dark Comedy “Kidnapping Inc” Flatters to Deceive
11 African Films to Screen at the 2024 International Film Festival Rotterdam (IFFR)
“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
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Music
“Once Upon A Cat” Review: Iyanya Struggles for Artistic Control on New LP
“Evil Twin” Is a Poignant Reminder of PsychoYP and Jeriq’s Insane Potential
Afrocritik Weekly Music Spotlight 2024: Week 3
Nigerian Music Luminary, Timaya, Releases New Single, “Dey Your Dey”
Joeboy Inks Dual Deal with Warner Music, Launches Young Legend Label
“We Cut Keys 2” Review: Blinky Bill Returns With a Sonorous And Genre-Bending New Album
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2026 Grammy Awards: How African Celebrities Brought the Fashion Heat to the Red Carpet
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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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