Rebellion often signals defiance against norms, authority, or leadership. We usually associate it with loud disruptions or even violence. However, would rebellion be your next move if you lost the right over your body? And I don’t mean to paralyse or any other form of ailment. But rather the dictates of men who hold the autonomy over your will. This was Miriam’s story in What’s Left of Us by Zikoko Life.

A Story ached on two rebellious men.

The 27-minute short tells the story of Miriam (played by Tolu Asanu), who decides to stop having children. This singular action opens up a well of chaos for her as she faces the possibility of losing at home. 

Directed by Olamide Adio and Victor Daniel, this serves as their second run together as co-directors. Although not released yet, their previously produced short film is titled Mother and also surrounds the story of a woman. 

Being men alone makes Daniel and Adio’s role in this production a form of rebellion. Because it’s often argued that men had no proper understanding to tell a woman’s story. Daniel takes the stand as the writer of What’s Left of Us. For him, this story seeks to be a voice and lesson for men who fail to understand that certain decisions can’t always be made as a couple. It surrounds relevant themes like cultural sensitivity, economic control, body autonomy, patriarchy and religious intertwining. It is awesomely filling and told in such a way that it properly delivers all that it is meant to. 

Lack of Dialogue, Not in the Story But In the Couple’s Love Story.

From the very beginning, we quickly understand Aliu’s (Caleb Richards) controlling nature, even with his mistress, Fatima (Sunday Joy). He refuses to take responsibility for any preventive method in intimacy, yet doesn’t want a child with her. At first, even the altercation between him and his wife goes on to feel like it went from zero to a hundred very quickly. With little dialogue or possibly not enough back-and-forth, for the outcome it had. 

But that’s easily explained with Mariam’s visible tremble and Aliu’s very quick-paced anger. The problem quickly shifted completely from childbearing discrepancies to Miriam wanting more in life in terms of a career. However, one thing remains evident: that there was a lack of communication from the very beginning.

As a married couple now, their problem isn’t a question of feelings, but rather, both parties wanting two different things. And that has been silently evident from the very start of their union. You would spot this when Aliu points out that they had an earlier plan on how they would run their family. But Mariam pushing back on not having a say in the plans that had been set.

The final blow is the conversation with the man who serves as a spiritual leader. He implores Miriam, explaining that the extramarital affair outside of their marriage was lawful based on religion. Further, expressing that her displeasure at having more children was against the powers by religion that the husband had over her. 

This leads to an altercation between the couple as they return home. With both of them dealing an ultimatum. For Aliu, it’s either she stays and falls in line with his demands or leaves the house. For Miriam, she was ok leaving, but not without our kids. 

A Solid Blend of Technicalities

In terms of performance, the couple delivers adequately at every point in time. They properly express the right emotions, dialogues, and even expressions to make us better understand their plights. The other supporting cast does well enough to also aid the successful performance of the leads. However, the dialogue between Ali and his friend seems to lack a bit of connection, especially as their relationship is based on friendship.

A standout moment would be the final altercation the couple had, the style in which it was shot properly amplifies each party’s points. Although it was an argument, the chaos/noise surrounding was piped down for us to fully understand where both parties stood.

Another strength of the short film is its immaculate cinematography, handled by Muhammad Attah. Each scene was very distinct and intricate, with the combined effects of the lighting, setting and colour gradient. Every single indoor scene stood out very much, from Ali and his mistress at the bar to the meeting at the mosque. Everyone lit up differently, which further helped in giving the story a look and a feel. 

There was also just something about the way the scene at the mosque was shot. From the choice of location to the use of the over-the-head technique. To which, only the back of the Imam’s body was shown. Making his voice seem very powerful in the lives of the couple. Rather than an emphasis on the face of the Imam, the shot was fixated on the expression and reaction towards what he was saying. We could tell the approval and the round of applause that was probably going through Aliu’s mind. And see, the defiance and anger in Miriam.

As opposed to music, What’s Left of Us made use of subtle sounds instead. This helped the storytelling, which was explained by the dialogues that happened and the drama that was going on.

Final Thoughts

The strength of the performances elevates the film from a simple retelling to something deeply real and intimately relatable. What’s Left of Us is not just a film, it’s a subtle revolt. A reminder that resistance can come not with shouting, but with a quiet refusal to conform.

You ca watch the film here.