Movie review: Before We Fall Asleep

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Before We Fall Asleep is a short Nigerian drama that examines what happens when the comfortable routine of a young family is suddenly disrupted.

 Directed by Kaelo Iyizoba and written by Blessing Uzzi, the 30-minute film focuses on Nazo and Tola, a couple whose relationship is put under unexpected pressure after Tola loses his job.

At the beginning, their home appears relatively stable. They have a young baby, Nazo’s mother is around for omugwo, and both partners seem to have settled into their respective responsibilities. However, the loss of Tola’s income quickly exposes tensions that had previously remained beneath the surface. 

What initially appears to be a story about unemployment gradually becomes a deeper examination of marriage, responsibility, pride and expectations.

Rather than presenting the financial setback as the central problem, the film uses it to reveal an imbalance that already existed within the relationship. Nazo has been carrying a significant portion of the childcare and domestic responsibilities, while Tola’s contribution has been viewed largely through the lens of his role as a provider. 

Once that role is threatened, both characters are forced to confront uncomfortable questions about what each person contributes to the family.

The strength of the film lies in how naturally these tensions develop. There are no unnecessary plot twists or excessive storylines. Instead, the narrative concentrates on the couple and the growing pressure inside their home.

 Small disagreements gradually become more serious until emotions that have been suppressed for some time finally come to the surface.

The performances from Onyinye Odokoro and Tobi Bakre are particularly important to the film’s success. Odokoro portrays Nazo as someone attempting to remain composed while dealing with mounting frustration. 

Her performance makes the character’s eventual emotional outburst feel earned rather than exaggerated.

Bakre, meanwhile, gives Tola enough complexity to make him frustrating without turning him into a one-dimensional character. 

His struggles with his identity and expectations as a provider are visible, even when his actions create further problems within the relationship.

Rita Edochie also adds depth as Nazo’s mother, bringing cultural expectations and a traditional perspective into the family dynamic. Her presence helps broaden the film beyond the couple’s immediate conflict.

The visual presentation also deserves recognition. The cinematography changes subtly as the relationship begins to deteriorate. 

Early scenes feel controlled and settled, while later moments become visually less stable, reflecting the emotional tension between the characters.

The film does not offer an overly convenient solution to the couple’s problems. Instead, it ends by showing two people finally confronting issues they had avoided discussing. 

That honesty becomes the film’s greatest message: difficult conversations may be uncomfortable, but they can be necessary for rebuilding trust and understanding.

Overall, Before We Fall Asleep is an intimate and relatable drama that succeeds because of its simplicity. 

It turns an ordinary domestic crisis into a thoughtful exploration of partnership, gender expectations, family responsibilities and communication. Its restrained storytelling, strong performances and carefully handled visual style make it a compelling addition to contemporary Nigerian short films.

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