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Afrocritik’s 30 Remarkable African Feature Films of 2025
“Mothers of Chibok” Review: Joel ‘Kachi Benson Explores The Long Wait After Chibok
Fujifilm Short Film Festival Awards Over $15,000 to Emerging Filmmakers Across Africa, the Middle East, and Central Asia
Features & Essays
Is the Nigerian Feminist Wokeness Asleep?
How Relevant to Christmas is December the 25th?
Bullying in Schools; Why Cases Are Largely Unreported in Private Secondary Schools
Unpacking my Black African Identity: Do All Africans Fit in Africa?
Opinion: What, Truly, is the African Story?
10 Perfect Spots to Visit in Africa This Christmas
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Film & TV
The “Set Up 2” Review: Chinaza Onuzo’s Latest Release Focuses on Aesthetics and Lacks Depth and Clarity
“Collision Course” Review: Bolanle Austen-Peters Makes a Social Commentary on Police Brutality. But to What End?
“The Milkmaid” Review: Desmond Ovbiagele’s Femicentric Terrorism-Themed Feature Is a Nollywood Revelation
Kayode Kasum’s “Dwindle” Feels Like Recycled Ideas, Yet Entertaining to Watch
“The Throne” Review: A Banal Tale about the Hunger for Power
“Office Invasion” Review: Three Office Friends Battle Aliens in a Slow but Charming South African Sci-Fi Comedy
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Music
“Level Up” Review: Tha Boy Myles Sets a New Bar With Sophomore EP
“Lifesize Teddy” Review: Mavin Records’ Newest Star Arrives With a Bang on Her Debut EP
“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
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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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