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Variations on the Subject of Family: A Review of the 2026 Caine Prize Shortlist
“Salt in the Snow” Review: Displacements and Shifting Identities Come Together in Sahra Noor’s Debut Memoir
Somalia National Pavilion to Spotlight Contemporary Somali Cinema During Venice Biennale
Features & Essays
Real-life vs the Internet: Measuring Success for Young Africans
New Technology in the Arts and Entertainment Scene: What Does This Mean for Africa?
Why the Eastern Nigerian Music Industry is Falling Short
Tribalism in Africa: a Tool for Charging Political Agenda
Experiencing Theatrical Greatness with Bolanle Austen-Peters: Fela’s Republic and the Kalakuta Queens
Is Theatre Still Alive in Nigeria? Joshua Alabi’s Journey as a Theatre Practitioner in Nigeria
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Film & TV
“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
Six African Titles to Screen at the 22nd Dublin International Film Festival
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Music
Afrocritik Weekly Music Spotlight 2024: Week 4
The Rise of Arbantone: A New Stable Among Kenyan Music Genres?
“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”
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AMVCA 2026: The Best Celebrity Red Carpet Looks of the Night
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Met Gala 2026: How African Celebrities Showed Up on Fashion’s Biggest Stage
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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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