Issakaba: what a 1999 Nollywood classic reveals about Nigeria’s security crisis today

Nigeria is grappling with banditry, kidnapping and insurgency amid renewed debates over community policing and the creation of state police. A Nollywood classic released more than 25 years ago remains strikingly relevant today. Released in 1999, Issakaba was inspired by the real-life Bakassi Boys vigilante movement. It became one of Nollywood’s defining films, attracting audiences in Nigeria and across West Africa. The story centres on a community overwhelmed by violent crime and let down by an ineffective police force. When a vigilante group steps in to restore order, its success comes at the cost of operating outside the law. The film anticipated many of today’s debates about security, state authority and citizenship. I research Nigerian theatre, film and popular culture, with a focus on how media and performance shape ideas about politics, governance and citizenship. In my recent research on Issakaba, I analysed the film as a cultural text to examine how it represents justice, state authority and vigilantism. Rather than simply depicting crime and insecurity, the film explores the relationship between security, citizenship and the state. My analysis shows that it does more than dramatise crime fighting: it reveals how citizens negotiate legitimacy, justice and political authority when the state struggles to provide security. My research drew on historian and political theorist Achille Mbembe’s work on power, violence and governance in postcolonial Africa. His work suggests that political authority is often fragmented and exercised through multiple centres of power rather than solely through formal state institutions. This helps explain why Issakaba portrays vigilante groups as acquiring legitimacy when the state is unable to provide security. The film remains relevant because many of the conditions that gave rise to the Bakassi Boys persist. Across Nigeria, persistent insecurity has fuelled the emergence of vigilante groups like Amotekun, Ebube Agu and the Civilian Joint Task Force. Communities turn to these groups when they believe state security institutions have fallen short. In many respects, the frustrations with state security that Issakaba captured in south-eastern Nigeria are now evident across other parts of the country. Nollywood as a storyteller of governance Nollywood is more than one of the world’s largest film industries. It is one of Africa’s most influential cultural industries. The films it produces contribute to public conversations about politics, justice and public life. I found that Issakaba transformed the wave of armed robbery, violent crime and public distrust of the police that gripped south-eastern Nigeria in the late 1990s into a compelling political narrative. It did not present governance as an abstract concept. Instead, the film asks a practical question: who deserves public trust when the state can no longer guarantee security? In the film, legitimacy depends less on formal authority than on performance. The vigilante heroes are portrayed as legitimate because they succeed where official institutions fail. Rather than presenting constitutional authority as the basis of legitimacy, the film suggests that governments earn public trust by protecting lives and property. Put simply, in times of crisis, people often judge governments more by whether they can provide security than by whether they possess formal authority. Issakaba‘s appeal reflected more than its action-packed storytelling. It emerged at a time when many Nigerians were frustrated by rising insecurity and what they perceived as the failure of state security institutions. In the film, justice is presented as immediate and community-centred. The vigilante group identifies suspected criminals, acts swiftly against them, and restores order where the police have failed. At the same time, the film invites viewers to consider the ethical tension between effective security and the rule of law. The film therefore offers an important insight into governance. Citizens judge institutions not only by their legal authority but also by their capacity to solve everyday problems. When governments are perceived as unable to provide security, alternative actors can acquire public legitimacy. This can happen even when their methods raise profound legal and ethical concerns. My analysis also shows that Issakaba presents citizenship as an active rather than passive relationship with the state. Faced with insecurity, communities do not simply wait for government intervention. They organise, mobilise and participate in their own protection. This reflects broader realities across Nigeria and many African societies, where citizens frequently rely on collective action when public institutions appear inadequate. At the same time, the film exposes a fundamental dilemma. If citizens lose confidence in formal institutions, should they support alternative systems of justice? The real-life history of the Bakassi Boys illustrates the risks of doing so. Human rights organisations documented allegations of torture, unlawful detention and extrajudicial killings linked to the movement. This demonstrates how groups established to protect communities can themselves become sources of abuse when accountability is absent. Why the film still matters today The questions raised by Issakaba remain remarkably relevant. Nigeria continues to face insecurity in many regions. Vigilante groups have emerged in response to banditry, kidnapping and communal violence. At the same time, policymakers continue to debate reforms, including the creation of state police forces under the control of individual state governments, as a way of strengthening local security. More than 25 years after its release, Issakaba reminds us that public confidence in government depends not only on legal authority but also on the state’s ability to provide security effectively, fairly and in accordance with the rule of law. As Nigeria continues to debate policing reforms, Issakaba offers a timely reminder that security without accountability carries its own dangers. Mark Tekena does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

Issakaba: what a 1999 Nollywood classic reveals about Nigeria’s security crisis today

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