At Ease makes a significant contribution to Nigeria’s growing mental health conversation by shedding light on the often-overlooked experiences of military personnel and their families.
By Joseph Jonathan
In Nigeria, as in most parts of Africa, a level of stigma has long been attached to mental health issues, leading those affected to face discrimination, scorn, and loss of privileges. However, there have recently been improvements in the quality of conversations around mental health, with filmmakers leading the charge through films like Sylvia (2018), For Maria Ebun Pataki (2020), 4:4:44 (2022), and Iyawo Mi (2023).
Adding to the conversation is Seun Richards’ directorial debut feature, At Ease. Written by Stephanie Dadet, the film follows Ifeanyi Agbo (Samuel Asa’ah), a Major in the Nigerian Army, who survives a deadly insurgent bomb attack.
While physically recovering, he suffers from severe post-traumatic stress disorder (PTSD), plagued by relentless nightmares and hallucinations. His condition worsens, culminating in an episode where he unintentionally harms his child, prompting his wife to leave him. Agbo then spirals into depression and attempts suicide, but an intervention leads him to seek therapy, beginning his arduous journey toward healing and redemption.
While there have been Nollywood films that touch on various aspects of mental health like postpartum depression (For Maria) and Obsessive Compulsive Disorder (Oga John), At Ease offers a first-of-its-kind perspective into survivor’s guilt and war-related PTSD.
Watching At Ease reminded me of popular Hollywood films like Saving Private Ryan (1998) Lone Survivor (2013) and American Sniper (2014). These films are similar in their portrayal of the long-term impact of war on military veterans. However, in At Ease, there is less focus on the action (war) and more insight into the struggles of Agbo as he recovers from the war.
The plot builds slowly, contributing to the film’s two-hour runtime. However, this is hardly noticeable as the plot is engaging enough to sustain its audience’s attention. This is made possible through the delicate and tactful manner in which each theme is explored, drawing you into the characters’ lives such that you can sympathise with their struggles.
As the story unfolds, the complexities of Agbo’s mental health struggles, and marital challenges are delicately intertwined, creating an emotional connection that resonates profoundly.
By avoiding sensationalism and instead opting for nuanced storytelling, At Ease fosters empathy and understanding, making Agbo’s experiences feel relatable. The character development is meticulous, with each scene revealing layers of depth, vulnerability, and resilience.
Further accentuating the plot is the acting performances. Asa’ah gives a good account of himself as Major Agbo, delivering an emotive performance that anchors the film. He skillfully conveys the character’s transformation from a confident officer to a broken man, struggling to cope with the aftermath of trauma.
Asa’ah’s performance brings depth to Agbo’s relationships, particularly with his wife and child, making the emotional stakes feel palpable.
Credits are due to Anee Icha, who delivers a telling performance as Lara, Major Agbo’s wife, capturing the intricate emotions of a supportive partner grappling with the devastating impact of her husband’s PTSD, conveying helplessness, frustration, and desperation through nuanced acting that illuminates the toll of secondary trauma on loved ones and humanises the often-overlooked experiences of military spouses.
Being the sixth film in the First Features Project, it is no surprise to see another child actor emerge. This time around, it is Emmanuel Odunaro who plays Nnamdi, Agbo and Lara’s son. He delivers his line with admirable confidence that most kids would be jealous of.
With a natural charm and screen presence, Odunaro brings a believable vulnerability to Nnamdi, conveying the emotional turmoil of a child caught in the midst of his parents’ struggles.
Just like others before him, the future looks incredibly bright for Odunaro, and audiences would definitely like to see more of him, as his talent and potential for growth make him an exciting young actor to watch.
While At Ease excels in its plot and acting performances, there are some technical mishaps. In several parts, the sound design falters, with certain scenes suffering from audio inconsistencies. There are scenes where the soundtrack slightly overshadows the dialogue, making it difficult to hear what is said.
In addition, a few transitions between scenes exhibit noticeable audio drops or uneven volume levels. However, this is partly remedied by the subtitles, which are accurate and well-timed, providing a vital lifeline for viewers struggling to catch every line. Despite these technical hiccups, the film’s strengths outweigh its weaknesses and still makes for an interesting watch.
At Ease makes a significant contribution to Nigeria’s growing mental health conversation by shedding light on the often-overlooked experiences of military personnel and their families.
The film sparks essential discussions and fosters empathy. Richards’ confident direction, coupled with standout performances from Asa’ah, Icha, and Odunaro, ensures that this emotionally charged drama lingers long after the credits roll.
At Ease is not only an impressive debut but also a testament to Nollywood’s growing capacity to tackle tough subjects with sensitivity and depth, cementing its place as a vital addition to the genre.
Rating: 2.5/5
Joseph Jonathan is a historian who seeks to understand how film shapes our cultural identity as a people. He believes that history is more about the future than the past. When he’s not writing about film, you can catch him listening to music or discussing politics. He tweets @JosieJp3.