Terry Goon is keeping strict quarantine in his ex-husband’s Brooklyn brownstone while caring for his nephew — a 19-year-old model from Morocco named Bahlul — bedridden in a full leg cast after an electric scooter accident. Unfortunately for Terry, everyone in his life wants to meet the model.
스트레스 포지션스, Неудобные позы, 压力姿势
USA
Sundance Film Festival
USA
New Directors/New Films
Australia
Sydney Film Festival
Germany
Munich Film Festival
Australia
Melbourne International Film Festival
Australia
Adelaide Film Festival
USANR
USANR
USAR
Australia
Germany
USA
How dafucc is this Theda's FIRST movie? Extremely funny and elegantly constructed, the rare work of contemporary art that depicts people who feel like you, me, everyone we know, in all their shallow, vain, horny desperation, and isn't hateful or cynical towards its characters. We're not evil, just losers. Two thumbs up, run don't walk, you'll laugh, you'll cry.
“but you always knew you were a woman?”
“no, nobody feels that way. i wanted to kill myself and this helped, sorta.”
deliriously funny, the first movie to remind me of Jasbir Puar, beautiful and authentic and searingly honest. Refreshing to see a movie about millennial queers not about identity or becoming, but about the surveillance state of moral puritanism and carceral logics of identity, a galaxy-brained work about the tribulations of being perceived as a Person Who Desires. I love Theda I love movies fiction is freedom
surprisingly tender, unsurprisingly hysterical. sharp observations of a gen-z/millennial generation gap that we're only just now seeing the cracks of. can people my age live with the fact that the youth can't follow down our paths? should we ever have expected them to?
I would have liked to enjoy this & otherwise considered myself in the pocket of the film for the first act – which is the strongest – before the whole thing melts into chaos in a way that frustrates. I mean, obviously some of this is on purpose, and I am no stranger to formalistic or tonal whiplash, but the inconsistency across the board makes for a tedious experience. Hammel is a great dialogue writer, and everyone is at their best when they are just trading jabs. by the second half of the film, however, the action is reduced to poorly shot long takes and explanatory voiceover. is there a point to all this? probably – but the film operates in…
the first film i've seen to directly address COVID as how it felt to me, how it might have somewhat felt to be in paris during the 1890s, berlin in the 1920s, a time of incubation rather than desolation. i lost a lot of my family during that viral period, coupled with finding several new friends. i finished my teenage dream of writing a novel, and then afterwards realized that i was more interested in film than in literature. i started having more hallucinatory experiences, but i also was financially secure for the first time in my life, not always on the verge of losing my home.
it felt like the point when the mind-numbing forever-2014 millennial cultural epoch dispersed…
[Sundance 2024]
“Fiction is freedom.”
This is genuinely the first and only good movie “about the pandemic”, making an honest and personal effort to actually acknowledge its effects on surveillance, performance, and the way others see us. Not only that, it’s an ingeniously photographed and expertly blocked true-blue classical screwball comedy that made me laugh the hardest I have at a movie in a truly long time. An essential work of auto-fiction and a monumental debut from Theda Hammel.
what if a gay guy was a trans girl was a vegetarian hot dog that tasted like meat but was from new jersey but from from morocco which is basically greek or jewish
Probably 3.5 but I’m in a good mood so whatever. Chekhov's Theragun. The last credit of the movie is a Special Thanks to Lindsey Weber, and it was fun to shriek at that together.
Bahlul is a young person considering possible futures, and all the adults in orbit offer only dismal prospects. Stress Positions has been billed as a comedy, and it is often a riotously successful one, but the cumulative effect is in fact primarily depressive, an unsparing survey of millenial decline that invokes a kind of horror and pity much more than it does laughter. Hammel and co-writer Faheem Ali mine the punchlines for their dread, and they manage to excavate some pretty lacerating insights about the grim psychological impact the overwhelming epistemic forces of the War on Terror, the legalization of same-sex marriage, facile pop liberalism, economic desperation, and infinite permutations of bigotry took on an insulated and neurotic generation. It’s to…
Amusing; annoying; constrained; located; overvoiceovered; short; underwhelming; unpleasant.
