Afrocritik
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Features & Essays

Interviews

Film & TV

“Awon Boyz,” an Emotive Documentary on the Lives of Lagos Hustlers, Now Streaming Globally on Netflix
Movies From The Vault: Chineze Anyaene’s “Ijé: The Journey” Is A Compelling Take On The Nigerian Dream
Movie Review: Kathryn Fasegha’s “Two Weeks In Lagos” Is Forgettable Schlock
Blackstar Film Festival: Renee Maria Osubu’s “Dear Philadelphia” Is A Song Of Hope For Black Communities
Blackstar Film Festival: Susy Pena’s “This Is Forever” Examines Identity, Immigration And Family Bonds
Movie Review: Femi Ogunsanwo’s “Finding Hubby” Defies Stereotypes, But Falls Just Short Of Being Memorable

Music

Show Dem Camp Takes Listeners on a Final Palmwine Music Ride with “Palmwine Music 3”
B-Red Shows a Lack of Depth on His “Good Music for Bad Days” EP
Layzee Ella Furthers Her Artistic Growth with Dancehall-Infused “Feel Everything”
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Chris Morgan’s Afrobeats-Infused “New Blast Is a 12-Track Masterpiece
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Nasty C’s “Ivyson Army Tour” Is an Underwhelming Mid-term Assessment from a Star Student
6-Track EP, “Festival of the Sun,” Is Ogranya’s Most Experimental Work
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