Bringing PTSD to Life: Sam Asa’ah on His Role in 'At Ease'

Actor Sam Asa’ah discusses the intense emotional journey of playing Ifeanyi Agbo in At Ease, a film that highlights PTSD and the struggles of military veterans.

There are very few films in Nollywood that depict the lives and stories of military personnel. As a result, their experiences, whether based on historical figures or those currently serving, are largely unknown or incomplete at best. This is why Seun Richards’ At Ease comes at such a significant time.

At Ease, a First Features Project, tells the story of Ifeanyi Agbo (played by Asa’ah Samuel), a former soldier battling Post-Traumatic Stress Disorder after a traumatic field experience. The film explores how PTSD affects his love and family life and deftly portrays the deeply personal nature of such a journey.

In this interview, Asa’ah speaks extensively about what it was like to play Agbo and how he came to embody the character. Before At Ease, he led the cast in the AMVCA-winning short film Hard Times by Imoh Umoren and appeared in movies like Sugar Rush and A Lady Called Life, as well as series such as Ndani TV’s Phases and Africa Magic’s Dust.

How long did you have to prepare from the time you knew you’d be playing Agbo until the beginning of the shoot?

What’s funny is that when I got this gig, it was quite impromptu. Everything was already set up, but they wanted someone different. They reached out to me via email on a Wednesday, I sent in a tape, they liked it, and I flew to Abuja the next day for a screen test.

At that time, I had just finished shooting an Africa Magic series called Dust. I arrived in Abuja, met Mr. Steve Gukas and the director, Seun Richards, and did a screen test for them to see how I looked on camera. While reading the script, I thought, "This is a pretty heavy role." I flew back to Lagos on Thursday evening.

By Saturday morning, I was back in Abuja, and we did a table read. I met Anee Icha, Emmanuel Odunayo (who played my son), Mr. Keppy Ekpenyong, Ms. Rekiya Atta, Mr. Tony Ezimadu, and the rest of the cast. Some I had worked with before, like Anee and Mr. Keppy, as well as Eyiyemi Olivia Rogbinyin, who played the doctor and had also played my mother in Dust. I had met Mr. Steve before, but that was the day I met Mr. Dotun Olakunri, a frequent collaborator with Mr. Gukas.

His production company, Michelangelo Productions, co-produces the First Features films alongside Steve's Natives Filmworks. They previously collaborated on films like 93 Days and Living in Bondage: Breaking Free. On Sunday, we rested as we awaited equipment and crew members from Lagos. By Monday, we began principal photography.

I had auditioned for Native Filmworks at the end of 2021 in Victoria Island, so getting this role was a surprise. Mr. Gukas and Mr. Olakunri mentioned that I had been considered for Agbo back then. It was out of the blue when they contacted me to send a tape. I remember rushing to have my brother record it because I couldn’t set up properly.

Being an actor for as long as I have teaches you to do your best and let go. Dwelling on every audition can be destabilizing. Our job as actors is to focus on interpreting the character confidently, leaving everything else out of our control. Acting is about making moment-to-moment choices and collaborating with the director for their vision. The camera catches every micro-expression, so conviction is crucial.

How were you able to find conviction in connecting with the character?

It all comes down to preparation. Sunday was quiet, and I read the script repeatedly. Being in my thirties, I’ve had my share of traumatic experiences in Nigeria and used those. I did a lot of research and believe that any actor should understand human psychology to grasp motivations beyond the surface.

This knowledge, combined with my awareness of military life, helped me create the mindset for Agbo. If you watch the film, you’ll notice how his demeanor changes from the beginning to later scenes. His voice and behavior evolve, and he doesn’t sound like me in pace or tone.

How did you work on details like voice and tone? Did you have a muse or template?

I didn’t have a specific template or muse. I imagined the character and built a persona from scratch. While this work is exciting, it can be daunting, almost like being possessed by another person. Playing Agbo made me sad. The film tells a story about the mind and how it affects everything we do and how we react.

The film explores the sensitive aspects of relationships, particularly love and support systems. What helped you deliver Ifeanyi’s personal conflicts?

The character was well-written, and my discussions with Seun Richards and Steve Gukas ensured we agreed on one thing: Ifeanyi Agbo loved his family. This love was always present, even during arguments with my wife, which I portrayed as stemming from mental instability, not hatred. Ifeanyi’s internal conflict arises from his deep love for his family, the men he lost, and his career as a soldier. This sense of duty clashed with his role as a family man and contributed to his trauma and survivor’s guilt.

I have a head full of hair, and we alternated scenes, sometimes with a beard and sometimes without. I was in most scenes and constantly had to go to makeup for scars or to remove them. It’s a miracle I didn’t get bumps, considering how frequently I had to shave.

Do you think these experiences aided your portrayal of the character?

Maybe. There were times I channeled the discomfort into certain scenes. Having someone touch your face constantly, even with a considerate SFX artist like Maris, was challenging. Some look changes took up to two hours, and I used that time to prepare for the next scene.

What are your thoughts on boundaries when couples go through difficult periods? Does involving third parties help or worsen the situation?

PTSD symptoms often include severe depression, which can immobilize a person. In such states, even well-meaning offers of help can feel intrusive. It’s like being so consumed by your mind that any suggestion feels like a disturbance.

This was reflected in scenes where Ifeanyi wanted to be left alone. The mind’s state dictates how help is perceived, so when someone is severely depressed, offers of help may not register as intended support but as an annoyance.

As the main actor, do you think Ifeanyi and Lara could have managed things differently?

I don’t know. In a recent Twitter space, someone critiqued the film, saying it was repetitive in showing PTSD and depression. A woman countered, saying that living with someone with PTSD feels repetitive. It’s real. I’m not qualified to recommend solutions because I’m not a mental health expert, but I understand how perception shapes reactions. Our mental state determines how we see things.

From this project, what changes do you think are necessary for veterans in Nigeria?

Corruption has extensive consequences, and it’s clear that support for Nigerian military veterans is inadequate. The care frontline soldiers receive is often insufficient, and veterans are likely to fare worse. Conversations with military personnel reveal their dissatisfaction.

Psychological and mental health issues are often dismissed in our society, seen as secondary or nonexistent. Comments like, “You have two legs and hands; why are you depressed?” reflect this. Films like At Ease are crucial for shifting public perception, humanizing military officers, and pushing those in power to do better.

How did you offload the character psychologically?

I let go by focusing on things that made me happy and avoiding dwelling on trauma. It took time, but I’m more like myself now.

What did you learn about being a man, a soldier, and an actor?

I learned the importance of understanding what truly matters in life. Many things seem important, but few actually are. Like Ifeanyi, I have a deep love for my family, and I can be stern. The closest part of his journey to mine is his confident sense of duty.

What kind of characters are you interested in playing next?

I want to avoid being typecast and explore diverse characters. I have a list of roles I want to play, and I’m lucky to tick them off occasionally. I’d love to play a villain—a completely unhinged character where I can cut loose and go crazy.