“At Ease,” directed by newcomer Seun Richards, delivers a poignant exploration of post-traumatic stress disorder within Nigeria’s military ranks, offering a beacon of hope for trauma survivors despite its modest production values. The film, penned by Stephanie Dadet, crafts an intimate portrait of Major Ifeanyi Agbo, a Nigerian Army officer whose life unravels following a terrorist bomb blast, complicated further by his wife’s departure during his struggle for recovery.
The film’s strategic casting of relatively unknown actors proves to be one of its strongest assets, allowing viewers to immerse themselves in the characters without the distraction of familiar celebrity personas. Leading this ensemble, Samuel Asa’ah delivers a compelling performance as Major Agbo, bringing authenticity to the character’s suicidal tendencies and deep-seated trauma. His portrayal creates a visceral connection with viewers, making the protagonist’s psychological deterioration painfully real.
Anee Icha’s supporting performance as Agbo’s partner provides a crucial perspective on the ripple effects of PTSD on family members, her portrayal skillfully capturing the secondary trauma experienced by those supporting individuals with mental health challenges. A particular surprise comes from child actor Emmanuel Odunaro, whose emotional authenticity surpasses typical expectations of young performers in Nollywood, especially in scenes depicting strained father-son interactions.
The film’s measured pace in character development allows for a deeper understanding of each individual’s role in the narrative, though this thoughtful approach highlights some of the production’s technical limitations. While the combat sequences meet basic requirements for conveying military action, they fall short of fully exploring the wartime experiences that serve as the foundation for the protagonist’s trauma.
Costume design shows attention to detail in military authenticity, particularly in Agbo’s uniform, though some choices, such as the portrayal of hostages without traditional hijabs common in depictions of terrorist captivity, miss opportunities for greater realism. Technical aspects like makeup occasionally falter, with noticeable inconsistencies in facial hair and wig applications detracting from the overall polish.
The film’s visual presentation reveals its budgetary constraints most clearly in its cinematography and color grading. The washed-out aesthetic, while potentially intentional, fails to enhance the narrative’s emotional weight, and the overall visual composition lacks the dynamic quality that even modest productions have achieved. Sound design, though generally competent, occasionally struggles with balance, allowing background elements to overshadow crucial dialogue.
Despite these technical shortcomings, “At Ease” succeeds in its most crucial mission: providing representation and hope for individuals battling PTSD. The film’s honest portrayal of trauma and recovery offers valuable insights for both patients and their support systems, making it a significant contribution to mental health awareness in Nigerian cinema.
The ensemble cast, including Abundance Effiong, Ayo Emmanuel, Temple Ikechukwu, and others, creates a convincing world that helps normalize conversations about mental health within military contexts. This achievement is particularly noteworthy given Nigeria’s often reserved approach to discussing psychological challenges, especially within traditionally stoic institutions like the armed forces.
Director Seun Richards, in his directorial debut, shows promise in handling sensitive subject matter with appropriate gravity, even if technical execution sometimes falls short of ambition. The film’s focus on character development over spectacle demonstrates a mature understanding of storytelling priorities, particularly valuable in addressing mental health narratives.
While “At Ease” may not set new standards for technical excellence in Nigerian cinema, its contribution to the broader conversation about military mental health and trauma recovery cannot be understated. The film’s 5/10 rating reflects its technical limitations while acknowledging its success in addressing crucial social issues with sensitivity and hope.
For viewers seeking authentic portrayals of PTSD recovery or those interested in supporting loved ones through trauma, “At Ease” offers valuable perspectives despite its production constraints. The film stands as a testament to cinema’s potential for addressing serious social issues, even when working with limited resources.
