African cinema
The Almajiri
Nollywood

Features & Essays

The Bad Leadership of the African Union and the Cost of a New Africa
Abdulrazak Gurnah’s Nobel Prize Win and the Politics of Storytelling
Women and the Myth of Vagina Fragrance
Women, Outrageous Beauty Standards And A Multimillion Dollar Makeup Industry
Chimamanda Adichie At 44: Celebrating Nigeria’s Literary Rockstar
Is Art Criticism Dead In Nigeria?

Interviews

Film & TV

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
“Nairobby” Review: Greed and Division Rule in Jennifer Gatero’s Tense but Monotonous Post-Heist Thriller
“Hey You!” Review: Uyoyou Adia’s 18+ RomCom Almost Ruined by Unresolved Subplots
“Lockdown” Review: Moses Inwang’s Pandemic Movie Feels Like a “93 Days” Wannabe

Music

“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
“Music Has Failed Us” Review: Abu Ibrahim’s Debut Poetry Album Heralds a New Protest Chant
“Dues” Review: Sean Tizzle’s Work Is a Triumph of Talent and Growth
Afrocritik Report - 2026 2025-01

VIDEOS

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Books

Culture

Fashion

AMVCA

AMVCA 2026: The Best Celebrity Red Carpet Looks of the Night

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Met Gala

Met Gala 2026: How African Celebrities Showed Up on Fashion’s Biggest Stage

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Grammy
2026 Grammy Awards: How African Celebrities Brought the Fashion Heat to the Red Carpet
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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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Africa Magic Viewers’ Choice Awards

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Explainers

Fiction & Poetry