Although anchored in the perspective of an Igbo-Ebira woman, With Difficulty Comes Ease resonates with any Nigerian woman. It explores the complexities of loss, tradition, and strength—universal emotions that are not bound by religion or language. It is also a story of women living under constant scrutiny, where their actions and inactions are subject to critical and often unfair judgment. 

Zainab is caught in a web. Internally, she is dealing with her loss and embarking on a journey of self-reflection to choose her own path. Externally, she faces an unaccepting mother-in-law, the pressures of religion and culture, Maimuna and Umar’s betrayal, and the challenges posed by government officials, creditors, and Rayyan. Azeez’s script presents these conflicts in a quick but measured pace. The dialogue often has a pulsating urgency, moving swiftly from one topic—religion, betrayal, rising prices, migration, subversion, and more—to the next. This ‘hastiness’ is not due to the filmmaker’s inability to fully explore these issues, but rather a deliberate choice to avoid redundant dialogue that would slow the narrative and weaken the plot. 

Throughout the film, Zainab maintains an emotionally inaccessible facade, despite the many challenges she faces. Though she is grieving, we never see her break down. Little did we know that the film was setting us up for one of its most powerful moments. After enduring her mother-in-law’s judgement, bureaucratic frustrations, and betrayal by Maimuna and Umar Garba, Zainab finally releases her bottled-up emotions. What makes this scene more emotional is Zainab’s decision to tell Hajiya, using Hausa—a language she struggles with—about hers and Qasim’s pregnancy. 

Shot with beguiling patience by Sheriff Bakare and Olamilekan Olaoye, the film’s camera work is deeply attuned to the leisurely unfolding plot. At various points, the cinematography captures Zainab’s distant and distressed countenance, offering us a glimpse into her mindset. The sound design and music, curated by Rex Ricketts, create a rich and immersive atmosphere. Mundi Amos Kopson, the colourist, and Steve Terungwa Iordye, the editor, work in harmony with the rest of the crew, staying true to the director’s vision. 

It is also important to discuss how the film fails to give Zainab agency. While it may be passively understood why she chooses her father’s religion and holds tightly to Qasim’s legacy after his death, this portrayal makes it seem as though Zainab lacks an identity or voice outside of the men in her life—her father, her husband, and Rayyan, her new love interest. However, one could also interpret Zainab’s decision to continue managing Qasim’s business, despite the numerous financial challenges, as her way of holding steadfast to their love or as part of her grieving process.