Afrocritik https://validator.w3.org/feed/docs/rss2.html Tribeca Film Festival 2026: Mohamed Taher Talks Fatherhood, Vulnerability, and the Conversations We Avoid in “32B” Afrocritik Turns Five: From Platform to Institution In Conversation: Obase-Sam Ikoi Reflects on Writing “The Comedian’s Diary” and the Necessity of Hope 14 Books for Anyone Trying to Make Sense of Nigerian Democracy “Out of Sight – Out of Mind: Volume 1” Review: Ycee Expresses Stylistic Yin & Yang on New Album In Conversation with Saïd Hamich Benlarbi on His Cannes-Selected Docu-Drama, “In Search of the Grey Bird with Green Stripes” Nine African Film Talents Invited to Join the Academy’s Class of 2026 “Love is a Machinery” Review: Anendlessocean Gives Romance the Album It Deserves C.J. Obasi to Direct Julius Achon Biopic “The Boy Who Runs” Is the African Literary Critic and the Institution of Criticism Under Attack? Can Democracy Work With a Hungry Voter? Why African Artistes Need to Think About Their Name, Image, and Likeness as Legal Assets 10 African Films About Brotherhood and Male Friendship “December 2025: Niger Delta Issue” Review: Omenana Magazine’s Call to Arms in the War to Protect the Niger Delta Region “The Quiet That Remains” Review: Hope Lingers for Damaged Souls in Jude Dibia’s Fourth Novel Eswatini’s ESWACOS Greenlights Fund Applications for Domestic Creatives Nigerian, South African and Tunisian Buyers Selected for Inaugural TIFF: The Market Beninese and Malagasy Participants Make Inaugural Edition of Locarno’s Open Doors Connect Tribeca Film Festival 2026: “Jail Time Records” Turns a Cameroonian Prison Into the Most Unlikely Stage in the World Rising Afro-Pop Star, Taene, Set to Release New Single, “MOONLIGHT” This June Afrocritik Music Spotlight: Outside the Box The Layers of Kenyan Poetry: From Resistance to Confession Why Nigeria’s Joke Culture Has Become Its Biggest Handicap “Small Chops” Review: Mannywellz Delivers a Sweet Treat on New EP “Let Us Conspire and Other Stories” Investigates Marginal Identities Amidst Loss and Grief Simisolaoluwa Akande, Aicha Cherif, and Yace Sula Join 2026 Sundance Institute Ignite Fellowship Cameroon’s “Jail Time Records” Leads African Winners at Tribeca Film Festival 2026 MYST Introduces New Girl Group Era with Debut Single, “Dynamite” “A Rii Set” Review: Pheelz Expresses Artistic Duality On New Project The Afrobeats Takeover: A Myth of Institutional Power Why Nigerian Politics Keeps Producing the Same Kind of Leaders “Mirrors” Review: Yemi Morafa’s Two-Hander Is Undone by Its Own Screenplay Should We Actually Celebrate June 12 As Nigeria’s Democracy Day? The Durban FilmMart Institute (DFMI) Unveils Cohort For Talents Durban 2026 Damien Hauser’s “Memory of Princess Mumbi” Secures Deal With US-Based Monument Releasing “Blood Sisters Season 2” Review: EbonyLife’s Hit Thriller Returns to Netflix as Shoddy Merchandise “Big Bad World” Review: Ajebutter22 Hits New Artistic Heights on New EP 2026 FIFA World Cup: How Africa’s Representatives Shape Up The Catalogue Lives On: What Happens to an Artiste’s Music After Death? The Umuofia Arts and Books Festival Hosts Chigozie Obiọma in Pre-Festival Event in Enugu “Barely Legal” Review: Qing Madi Hits Full Stride on New EP Durban International Film Festival Releases List For 2026 Short Film Competition Netflix Announces 14 Young South African Creatives For Inaugural ScreenCraft Pathway Cohort Afrocritik Music Spotlight: May on the Mind CANAL+ Lists on Johannesburg Stock Exchange, Broadening Africa-Europe Market Strategy 20 African Cinema Classics That Help Us Understand the Forces Shaping Africa Today Locarno Film Festival Open Doors 2026 Unveils African Selection Documentary Spotlight: “Fantastique” On “Psalm 23” and “Psalm 16”, Shona Raps the Shepherd’s Love into Sound [Review] Home