Afrocritik’s 30 Remarkable African Feature Films of 2025
Mothers of Chibok
Fujifilm Short Film Festival

Features & Essays

Do Religious Contexts of “Submission and Obedience” Breed Problems Within Marriage?
The Unfair Politics of the Southeastern Nigerian Catholic Church
2022 Grammys: Who Will Win Best Global Music Album?
Babatunde Omidina “Baba Suwe”: A Great Entertainer Takes His Final Bow
Red Flags To Identify a Man That Might Break Your Heart
The P-Square Reunion: Is It Five Years Too Late?

Interviews

Film & TV

8 Nigerian Movies and TV Shows Coming Soon to Your Screens
“Country Queen” Review: Kenya’s First Netflix Original Series Is Potent but Drab
“The Blood Covenant” Review: A Familiar but Interesting Anti-Money Ritual Film
“Prophetess” Review: Niyi Akinmolayan Dares to Merge Religion and Farce
Jewel
“Jewel” Review: A Quiet Reminder of the Continuing Impacts of South Africa’s Sharpeville Massacre
“Introducing the Kujus” Review: Biodun Stephen Creates a Dramatic and Incredibly Relatable Family

Music

Trench to Triumph
“Trench to Triumph” Review: Crayon’s Musical Odyssey is on Display in Debut LP
“Rhythm and Tunes” Review: Lil Kesh Delivers Average Afrobeats Fare with a Few Bright Spots
“Blessed” Review: With Sophomore Extended Play, Mohbad Marks Triumphant Comeback
“Thy Kingdom Come” Review: Seyi Vibez Displays Peak Form and Hints at Even More
That Uzere Boy
“That Uzere Boy” Review: Savage Unleashes a Sensory Feast with Sophomore Effort
“Love Letters” Review: Ka$hCPT Lays Emotions Bare through Effective Storytelling

VIDEOS

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Books

Culture

Fashion

AMVCA

2025 AMVCA: How the Stars Lit up the Night With Style

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AMVCA Cultural Day

10 Celebrities Who Slayed the 2025 AMVCA Cultural Day

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Met Gala
What Africa Wore to the Met Gala 2025: Fashion, Symbolism, and the Limits of Black Dandyism
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2025 Grammy
Bold, Regal, and Stylish: African Artistes at the 2025 Grammys
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Africa Sourcing and Fashion Week
10 African Fashion Events to Watch Out for in 2025
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Sports

Explainers

Fiction & Poetry