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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
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
Why Do People Still Fall Prey to Ponzi Schemes Amidst Warning Signs?
Have we Reached the Long-awaited Meeting Point of Politics and Religion?
Live Performance Culture: How Has the Trio of Burna Boy, Wizkid, and Davido Fared?
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Film & TV
“A Weekend to Forget” Review: Damola Ademola’s Entertaining Mystery Confounds Itself
“WAR: Wrath and Revenge” Review: A Simplistic Foray into Machiavellian Intrigue
“Classified” Review: Kagiso Lediga’s Young-Adult Venture Falls Short of Originality
“Breath of Life” Review: A Grand Story Tinged with Avoidable Flaws
“A Tribe Called Judah” Review: Funke Akindele’s Winning Streak is Crafting Engaging Family Dramas
10 Breakthrough African Films of 2023
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Music
“The Chorus Leader” Review: Timi Dakolo is Bold and Bare on New Album
DUST Review: Priddy Ugly Takes an Emphatic Bow on Final Album
Afrocritik Weekly Music Spotlight 2024: Week 2
“Dem Mauru” Review: Maandy’s New EP Attest to Her Hard Work and Sensitivity
“Let’s Start A Riot” Review: La Même Gang Returns With a Decent EP
Afrocritik Weekly Music Spotlight 2024: Week 1
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2026 Grammy Awards: How African Celebrities Brought the Fashion Heat to the Red Carpet
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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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