"When are you going to have a baby?" is the question that Tithi, portrayed by Nusrat Imrose Tisha, is met with, within the initial five minutes of "Something Like an Autobiography". It is unfortunately safe to say that even in the year 2023, people somehow find it acceptable to ask this to most married individuals, who especially face these after they've been married for a good number of years.

Tithi's mother's eventual scathing remarks do not help the cause of the film until the protagonist finally becomes pregnant. Tithi's husband Farhan, portrayed by Mostofa Sarwar Farooki, plays the commendably supportive partner from the onset. He even raises the pertinent question--"Do we even need a child?", which in turn reflects the reality of couples who are willing to abstain from becoming parents as they already feel complete without one. Tithi's assurance of affirming that they are bringing their child into the world solely for themselves and not the society can be said to be speaking for a majority of pairs at large. The film openly speaks for people who are struggling to become parents.

However, the point at which Farhan suddenly has to deal with an ex-girlfriend seems redundant and weird, considering he had already been established as a reliable partner. It could have been a setup for when he ultimately falls prey to being tormented by questionable associates of the influential "oligarch" played by Dipjol. The occurrences leading up to Farhan's manipulated arrest were gripping and also implied how standing up for what he believes in accounted for his time and situation being worsened simply because of the far-reaching exploitative measures of one questionable being. 

When Farhan is freed from prison with the help of Iresh Zaker's character, which was executed as one of the finest performances amongst the smaller roles, the universal truth of devoted parents doing everything and anything for their child is again highlighted through heartfelt and meaningful dialogues – Farhan after all had to beg for forgiveness for speaking out against Dipjol's character to attain bail. 

Director Farooki and co-writer Tisha evidently poured much of themselves into creating the film, which felt genuinely personal at least for most of the first half of the entire run-time. Then again, there were significant occurrences within their well-furnished home that resembled moments or shots from a daily vlog. Farooki's attempt at being an actor may have sometimes added to the aforementioned feeling of similitude with a vlog but his performance largely felt rather natural. He could have been just playing himself, instead of his character Farhan. On the other hand, Tisha's ever-immaculate caliber at sinking into the skin of her characters remains constant with this project. 

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The web-film does not concoct unnecessary measures of lengthening the story, so it unfolds via an inquisitively linear thread. The cinematography feels homely and relatable, thereby making it accessible and familiar. The subtle hilarious dialogue Tithi and Farhan share after consulting a gynecologist can easily be seen as those shared by real people. The film does a great job at bringing to the forefront sentiments that most people can relate to and in doing so it speaks on behalf of those that can empathise with the struggles presented on screen.