Why ‘The Covenant’ is one of Nollywood’s most uncomfortable films of 2025

2025 has been a strong year for Nollywood. From hard-hitting crime thrillers like ‘To Kill a Monkey’ and ‘Herd’, to feel-good romantic comedies such as ‘Love in Every Word’, and epic spectacles like Lisabi, the industry has delivered back-to-back films that respect viewers’ time and attention. And just when it feels like the pace might slow down, ‘The Covenant’ arrives.

Directed by the late Dimeji Ajibola and produced by Vincent Okonkwo, ‘The Covenant’ is an emotionally charged crime thriller that offers no easy comfort. It dives into the grim realities of kidnapping, armed violence, family loyalty, and institutional failure, issues that dominate Nigerian headlines but are often quickly forgotten.

This is not the familiar, soft-edged Nollywood “covenant” story one might hurriedly suggest. Instead, it is a tale of survival in a country where danger has become routine, and staying alive is sometimes the only promise left to keep.

Plot

The film opens at a military bivouac, where a notorious militia group suddenly ambushes soldiers. In the chaos, some of the men escape, led by Dagogo. But safety turns to shock when he realises his younger brother, Celestine, is missing. Dagogo turns back to rescue him, only to watch helplessly as Celestine is captured right before his eyes.

Two years later, Dagogo receives an unexpected call from a trusted and respected Reverend, claiming that Celestine has been sighted somewhere in the community. Confused and unsure whether to hope or fear, Dagogo returns home to confront a reality he has tried to bury.

Waiting for him is unresolved family tension, especially with his mother, Stella. Dagogo harbours deep resentment toward her, believing she abandoned him and his brother. Celestine, however, sees their mother differently and insists there is more to the story than Dagogo knows.

As Dagogo returns to the creeks in search of his brother, his relationship with Stella begins to shift, slowly and painfully. He discovers she is seriously ill and close to death, forcing him to confront emotions he has long avoided. But his search for Celestine leads him into something far darker: a hidden history and an old mystery that predates his own birth.

Performance

Like in every movie, the cast carries much of the film’s weight, and they do so convincingly. Leading the charge is Sola Sobowale, who delivers a phenomenal performance steeped in quiet rage and deep emotional resolve, the kind of restrained power she has perfected over decades. As Stella, a character around whom the film subtly revolves, Sobowale fully inhabits the role. Her use of pidgin English feels natural and lived-in, as expected from an actress who has done this terrain before. What makes this performance different, however, is its stillness. This is a role that demands actions louder than words, and Sobowale rises to the challenge.

Gideon Okeke anchors the story as Dagogo, playing the character with emotional restraint and simmering intensity. He brings a believable physicality to the role of a military man, and his energy fits the Niger Delta setting well. While there are moments where the authenticity slightly wavers, his performance remains largely compelling and grounded.

Zubby Michael’s turn as Celestine is familiar territory, yet still effective. Roles like this helped launch his career, and he slips back into it with ease. His hot-and-cold performance aligns neatly with his gang name, “Sting,” giving the character an unpredictable edge.

Segun Arinze adds veteran gravitas as Kalu, the Priest of the Sword. He plays the role with calm authority and restraint, proving once again that experience does not need excess. His presence is central to the film’s atmosphere, lending it the mystery and depth it requires.

Uzee Usman contributes menace and weight where needed, ensuring his character leaves an impression. That said, the ethnic identity of his role remains unclear, whether he is meant to be a Niger Delta militant or an outsider who rose within the ranks. This ambiguity highlights a familiar issue with typecasting, which can limit how far an actor is allowed to stretch, even when the story calls for it.

Overall, there are no wasted performances in The Covenant. Even amid chaos, the characters feel human, grounded, and emotionally believable.

Technical Execution

From a technical standpoint, The Covenant reflects Nollywood’s steady growth. The production quality is solid, the action sequences feel sharp and believable, and the fight scenes carry a raw authenticity. The sound design is especially effective; it pulls the viewer into danger instead of loudly announcing it.

Dimeji Ajibola’s direction, already admired in Juju Stories, shows confidence and restraint. He understands when to press forward and when to slow things down. Sadly, the film also stands as a reminder of a talent lost too soon. Watching it, one cannot help but notice the weight of his absence. The Covenant feels like a quiet tribute to a filmmaker who was still finding new depths. Ajibola died on 3rd November 2024. He is also the director of the 2023 Shanty Town.

What makes the film particularly unsettling is how closely it mirrors life in the creeks and slums of the Niger Delta.

Realism and themes

The opening scene, which shows a military hideout being attacked and overrun, feels disturbingly real. One of the film’s most painful moments comes when a commander desperately calls for backup, air support, and reinforcements, only to be met with silence. It is a scene Nigerians know too well. They have heard real recordings of soldiers pleading for help that never came, watched videos of abandoned troops and read about officers like Brigadier General Uba, captured and executed, before moving on to the following headline.

The Covenant refuses that emotional distance. It forces confrontation.

The film quietly indicts a system that often fails the very people standing between the nation and collapse. It raises uncomfortable questions about preparedness, communication, intelligence, and the value placed on the lives of men in uniform. It reminds us that soldiers are not just names in press releases; they are sons, brothers, and fathers with families waiting at home.

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Beyond insecurity, the film also explores financial hardship, family survival, and the quiet violence of poverty. It illustrates how desperation can bend morals, strain relationships, and force people into impossible choices. These moments are handled with restraint, using simple dialogue and familiar situations that feel uncomfortably close to home.

The menace of kidnapping is another central theme, but unlike ‘Herd’, the story is told mainly from the perspective of Niger Delta militants, shedding light on both their motivations and the grim fate of victims in a country where abduction has become routine. The film also explores the hunger for power, vengeance, and the complex bonds of family. Its use of suspense is practical and necessary, keeping the tension alive throughout the narrative.

Weaknesses

If the Covenant falters, it is in its ambition. The story sometimes feels dense and overwhelming, juggling crime, family drama, political failure, and spiritual undertones all at once. Some viewers may struggle to fully immerse themselves in the story, especially in the early moments. Still, this messiness feels honest; Nigeria’s reality is rarely neat.

There are also moments where the storytelling feels superficial. A character is shot dead in one scene and later reappears alive, saved by a mysterious woman, with only vague explanations offered. The film introduces multiple subplots but struggles to harmonise them. This becomes most obvious in the ending, which feels rushed and haphazard, as though it is setting up future episodes or a possible sequel for redemption.