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The Annual Film Mischief (TAFM) 2025: Film Reviews Afrocritik

The Cuttings of 2025: Are African Literary Prizes Out of Touch? Afrocritik

Morocco Named “Country in Focus” at the 2026 European Film Market Afrocritik

Has Nigerian Hip-Hop Found Its Mojo Again? Afrocritik

Afrocritik Weekly Music Spotlight: Mega Catch-Up Afrocritik

Afrocritik Weekly Music Spotlight: Projects Galore Afrocritik

Michael Afenfia’s “Leave My Bones in Saskatoon” and the Burial of Prose Fiction Afrocritik

Tyla Wins Best Afrobeats at the 2025 MTV VMAs Afrocritik

Grief Touches the Sublime in Yewande Omotoso’s “An Unusual Grief” Afrocritik

X Is Doing Us In and We Don’t Know It Afrocritik

“New York, My Village” Review: Uwem Akpan’s Book Is An Important Breakaway From Conventional Contemporary Setting Afrocritik

“Iyanu” Renewed for Second Season at HBO Max and Cartoon Network, Spin-offs Announced Afrocritik

Davido to Make Historic Coachella Debut at 2026 Festival Afrocritik

Tolani Is Creating Music on Her Own Terms Afrocritik

Tems to Headline First-Ever FIFA Club World Cup Halftime Show Afrocritik

Two Poems | By Salama Wainaina Afrocritik

“Only Big Bumbum Matters Tomorrow” Review: Damilare Kuku’s Novel Addresses Body Politics, Biases, and Femininity Afrocritik

“Ingubo Enamehlo” Review: Halo Yagami Tugs At Heartstrings Across New Album Afrocritik

Entertainment Week Africa Relaunches with Pan-African Vision Afrocritik

Why African Men Are Finally Embracing Skincare Afrocritik

30 Nollywood Films That Explore African Spirituality and Tradition Afrocritik

Tramaine Suubi Talks Debut Collection, the Craft of Poetry, and the Art of Literary Stewardship Afrocritik

Tyla Makes History as First African to Host Nickelodeon Kids’ Choice Awards Afrocritik

“Ancestry” & “The Cathedral” | Poems by Chimezie Umeoka Afrocritik

“Readers Will Bring All Kinds of Meaning to Your Work”: Uche Okonkwo, In Conversation with Afrocritik Afrocritik

Joel Kachi Benson Just Wants to Make an Impact Afrocritik

Shirley Frimpong-Manso’s “Stitches” Selected for TIFF Industry Selects 2025 Afrocritik

“WWP” Review: Tyla Returns to Form on New EP Afrocritik

In Conversation: Wingonia Ikpi Talks Making “The Lost Days”, the First Features Project, and What’s Next Afrocritik

“Emadlelweni Aluhlaza” Review: Blue Pappi Charts Introspective Journey Across Sprawling Album Afrocritik

“Victims of Madness 2.0” Review: Wakadinali Chooses Refinement Over Reinvention Afrocritik

Can African Proptech Startups Build Trust in a Skeptical Market? Afrocritik

“No Sign of Weakness” Review: Burna Boy’s LP Is Technical, Polished, Yet Safely Played Afrocritik

“Red Circle” Review: Akay Mason’s Energetic Thriller Delivers on Its Ambitions Afrocritik

10 Young African and Black Personalities Redefining the Creative Space Afrocritik

Tems Honoured with Diamond Award at Billboard Global Power Players Event Afrocritik

Kester Kanayo Onyemaechi and His Archive of Healing Afrocritik

TIFF 2025: In Conversation With Zamo Mkhwanazi, Director Of “Laundry” Afrocritik

In Conversation: Laurène Southe Speaks on Poetry, Creative Expression, and Diasporan Experience in Debut Chapbook Afrocritik

Tems Launches “Leading Vibe Initiative” to Empower Young Women in African Music Afrocritik

Can Ethical Cobalt Mining Stop Congo’s Crisis? Afrocritik

“Yariasu” Review: Nyashinski’s Familiarity Dulls the Spark of His Latest Album Afrocritik

“Love Is War” Review: Starsamm Shows Promise on Debut EP Afrocritik

“Devil is a Liar” Review: Moses Inwangʼs Film Lies About the Story It Is Telling Afrocritik

Blinky Bill: East Africa’s Quiet Radical Afrocritik

Idowu Odeyemi’s New Theory of Disgust: He Thinks What You Say Can Be Disgusting Afrocritik

In Conversation: OluwaMillar Talks “Agbalagbi”, Creativity, and Breaking Barriers Afrocritik

10 Rising African Alté Artistes to Watch in 2025 Afrocritik

Tunde Onakoya Sets Guinness World Record for Longest Chess Marathon Afrocritik

Kyalami’s Renaissance: Paving the Way for F1’s Return to Africa Afrocritik

“Èkó Groove” Review: Spinall Assembles Star-Studded Cast on New Album Afrocritik

“Sayari” Review: Omar Hamza’s Film Maps Love Across Kenya’s Social Terrain Afrocritik

African Excellence at the 2025 Diamond League Afrocritik

Ayra Starr Wins Best International Act at 2025 BET Awards Afrocritik

The Manifesto of M.anifest: New Roads, Same Genius Afrocritik

“Journey Through Life” Review: Femi Kuti’s Album Confronts Nigeria’s Political Realities Afrocritik

BNXN Releases Sultry New Single, “CUTESY” Afrocritik

Noise or Attention: What Really Sells Nollywood Films? Afrocritik

A Father’s Daughter Goes Home: The Illustrious Life of Mabel Segun Afrocritik

Bold, Regal, and Stylish: African Artistes at the 2025 Grammys Afrocritik

The Neo-Arewa Soundscapes of FirstKlaz Afrocritik

“Black Star” Review: Amaarae’s Boldness Finds Energetic Expression on New Album Afrocritik

Nigerian Thriller, “Over the Bridge”, Heads to Kenyan Cinemas This June Afrocritik

“Not Guilty” Review: Terry Apala Celebrates Freedom on Compact EP Afrocritik

“Wonderful” Review: Tay Iwar Continues To Wow With New EP Afrocritik

Are Music Videos Relevant in Afro-Pop Today? Afrocritik

African Cinema Makes Strong Showing at 2025 SXSW London Screen Festival Afrocritik

Foldable Smartphones: A Game-Changer or Just a Fad? Afrocritik

“A Kind of Madness” Review: Uche Okonkwo’s Collection of Short Stories Explores the Ramifications of Figurative Madness Afrocritik

“Workaholic” Review: Xbusta Flaunts His Artistic Strengths on New EP Afrocritik

“The Party” Review: Where’s the Sleuthing or Mystery in This Nollywood Whodunit? Afrocritik

To Kill a Conversation: Nollywood, Criticism, and the Culture of Silence Afrocritik

“Radio Voice” Review: Strong Performances and a Human Story Ground Isioma Osaje’s Warm Drama Afrocritik

Smartphone Alerts and the Future of Flood Preparedness in Africa Afrocritik

East Africa’s Altè Movement: A New Era of Hybrid Sound Afrocritik

Documentary Spotlight: “The Bandit Warlords of Zamfara” Afrocritik

Oyin Olugbile Wins 2025 Nigeria Prize for Literature With “Sanya” Afrocritik

“Years of Shame” Review: Obinna Udenwe’s Ambitious New Novel Nearly Crumbles Under the Weight of Editorial Issues Afrocritik

Two Poems | By Tukur Ridwan Afrocritik

Nigeria and Brazil Sign Historic Co-production Agreement, Explore Creative Partnerships Afrocritik

AMVCA 2025: What Are We Really Celebrating? Afrocritik

30+ Films Selected for NollywoodWeek Film Festival 2025 Afrocritik

“Kash Money” Review: Kenya’s Netflix Release Lacks Dimension And Complexity Afrocritik

“Goodgirl” Review: GoodGirl LA Reintroduces Her Vibrant Uniqueness on New EP Afrocritik

10 Artistes Leading the Afro-Gospel Sound in 2025 Afrocritik

Why Is There a Dearth of Protest Music in Nigeria Today? Afrocritik

Afrocritik’s Anticipated Books of 2025 Afrocritik

How Smart Waste Management Solutions Can Solve Africa’s Garbage Crisis Afrocritik

“Moonflower” Review: MiDi KwaKwa Explores Romantic Experiences on New EP Afrocritik

The Biggest Snubs and Surprises of the 2025 AMVCA Nominations Afrocritik

CHAN: Is It Truly Serving African Football? Afrocritik

The Legend of Area Scatter: Enigmatic Musician or Misunderstood Individual? Afrocritik

Afrocritik’s 25 Remarkable African Films of 2024 Afrocritik

“Gen Z” Review: Zinoleesky Treads Familiar Ground on New Album Afrocritik

“The Torcher” Review: Stonebwoy Proves His Pedigree on New Album Afrocritik

What Trends Will Drive Africa’s Film Industry in 2025? Afrocritik

Afrocritik’s Notable Books From Africa in 2024 Afrocritik

Afrocritik’s 50 Notable Essays from Africa in 2024 Afrocritik

AMVCA Introduces Best Music Score Category Ahead of 2025 Edition Afrocritik

Ayra Starr Wins Best International Act at the 2025 MOBO Awards Afrocritik