Afrocritik
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Features & Essays

Interviews

Film & TV

Emem Isong’s “Special Jollof” Fails As a Romantic Drama
AMAA 2021 NOMINATIONS: A GUIDE TO THE NOMINATED FEATURE FILMS FROM NOLLYWOOD
Emotions, Depth, and a Stellar Cast Take Front Row in Daniel Ademinokan’s “Gone”
Hide ‘N’ Seek and its Decent but Inadequate Effort to be Different
“Shadow Parties” Jumps Too Many Steps in the Wrong Directions
Kunle Afolayan’s Adaptation of Sefi Atta’s “Swallow” Could Have Been More Powerful

Music

Moliy Captures a Sour Relationship on “Honey Doom”
Ayra Starr Offers Little to Nothing on “19 & Dangerous” Deluxe LP
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Mannywellz’s Voice Shines Brightly on “Unwanted” EP
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Wizkid’s “Bad To Me” Music Video is a Punchy, Retro-Themed Return
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Kaestyle Arrives in Style on “Kae’s Study” EP
J. Martins’s “Love Me More” EP is a Stunning Comeback from a Highlife Maestro
Afrocritik Report - 2026 2025-01

VIDEOS

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Books

Culture

Fashion

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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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 Magic Viewers’ Choice Awards

Sports

Explainers

Fiction & Poetry