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“MKO” Documentary Review: An Admissible Portrait of A Democratic Hero
“Agbara Nla: The Return” Is A Remake Driven by Faith and Nostalgia
In Conversation with Keith Shiri on Curating Film Africa 2026 and the Festival’s Women-Centred Programming
Features & Essays
Femininity Should Never Be an Impediment to Women’s Freedom in Africa
The Men’s Club: Will Ayoola’s Exit and Pere’s Entry Cost the Show its Fans?
Saving Theatre: Lessons the Nigerian Theatre Can Learn From the Film Industry
How Women are Constantly Objectified in Nigerian Comedy
Black on Black Discrimination and the Ignorance of Our Collective Histories
Cultural Baggage: Should African Women Prove their Worth Only Through Suffering?
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Interviews
Film & TV
Moussa Sène Absa and the Trilogy that Redefines African Femininity in Film
Barnabas Emordi: Successive Steps Behind the Lens to Becoming Nollywood’s Highest-Grossing Cinematographer
“On The Edge” Review: Temitope Bolade-Akinbode’s Drama Highlights the Human Condition With Tragic Consequences
Orire Nwani’s “Love & Seclusion” Set for North American Premiere at New York University
Berlinale Talents: Esther Kemi Gbadamosi and Perivi John Katjavivi Selected as New Fellows for 2024 Mastercard Enablement Programme
“Hotel Labamba” Review: Biodun Stephen’s Comedy Thriller Offers Easy Laughs; Lighter On Substance
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Music
“We Cut Keys 2” Review: Blinky Bill Returns With a Sonorous And Genre-Bending New Album
“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
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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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