‘Stress Positions’ Review – A Riveting Journey Through Turbulent Times

In Theda Hammel’s bold debut, Stress Positions, the gripping story unfolds during New York’s COVID Fourth of July. Prepare to journey back to 2020, a year I wouldn’t want to relive, overshadowed by the pandemic’s relentless grip. Through this film, experience the emotional ups and downs of staying at home and navigating social distancing. Get ready for a narrative that’s both haunting and unforgettable, capturing a time that challenged society to its core.

In Stress Positions, Theda Hammel skillfully steers through the turbulent waters of intergenerational dynamics without skipping a beat. With a comedic finesse that’s as refreshing as it is sharp, the film offers a tantalizing glimpse into the clash between self-absorbed millennials and their more hopeful, unburdened Gen Z counterparts. At its core, the movie thrives on the electric chemistry between John Early, portraying the jittery Terry Goon, and Qaher Harhash, embodying the enigmatic Moroccan model on a quest for self-discovery. Hammel’s directorial prowess lays bare the quirks and complexities of a generation raised on liberal arts and digital saturation, creating a tapestry of flawed yet endearing characters.

Reuniting with her My Trip To Spain co-star, Hammel orchestrates a delightful on-screen pairing that crackles with energy, as Early breathes life into the neurotic Terry, navigating the pitfalls of post-divorce quarantine in his ex-husband’s Brooklyn brownstone. As Terry’s best friend Karla, Hammel provides a lively and engaging voice-over, offering a colorful commentary on Terry’s misadventures as he hilariously attempts to conceal the house’s hedonistic past.

Throughout the film, we’re swept into discussions about gender, social justice, and contemporary issues. John Early stars as a once-idealistic soul now navigating political apathy post-split with husband Leo (John Roberts). Terry finds himself managing Leo’s chaotic Brooklyn home while Leo’s off gallivanting in Berlin. Meanwhile, Theda Hammel enters the fray as Carla, a laid-back bodyworker tangled in a complicated romance with novelist Vanessa Ravel (Amy Zimmer). Hammel’s portrayal adds depth to Carla’s journey, making for a story that’s both humorous and heartfelt.

Terry’s nephew, 19-year-old Bahlul (played by Harhash), adds a new layer of complexity to the story. With a broken leg, he’s now stuck in the confusing layout of the Brooklyn brownstone. Bahlul, the son of Terry’s sister Abigail, appears only through fragmented home videos. Abigail, who left the U.S. years ago, converted to Islam and harbors resentment towards the Western world. As the film unfolds, narration shifts between Carla and Bahlul, offering insights into their intertwined family history.

Stress Positions crams a bunch of quirky characters into a fast-paced 90 minutes, creating a chaotic yet entertaining universe. Each character comes to life in three dimensions, colliding with each other like energetic atoms. Even Grubhub courier Ronald gets caught up in the mix when Carla seduces him. While the film touches on immigrants navigating the gig economy, it mostly focuses on its core characters. With so much going on, any detour risks shaking up the focus, but overall, Stress Positions manages to keep you hooked with its colorful personalities.

The narrative is a whirlwind of emotions, with characters teetering on the edge of breakdowns, except for the calm and collected Bahlul. While everyone else spirals, Bahlul remains unfazed, even in the face of misconceptions about his Moroccan heritage. Carla, grappling with pandemic-induced boredom, finds solace in day drinking and meddling in others’ lives. Her candid explanation of her transition, delivered in a slurry, grappa-soaked monologue, adds a touch of painful humor to the film.

Editor Erin DeWitt and cinematographer Arlene Muller craft an atmosphere that is relentless in its intensity, mirroring the characters’ panic attacks. As the film progresses, it feels like one continuous panic attack in desperate need of a moment to breathe. The film doesn’t shy away from exploring millennial ideologies, often bordering on self-parody, especially when contrasted with the carefree attitude of Generation Z. Bahlul emerges as the heart of the story, forming a sweet connection with an upstairs neighbor.

Theda Hammel and John Early’s dynamic chemistry adds to the film’s humor, portraying a friendship navigating the uncertainties of adulthood. Early’s physical comedy captures the essence of Terry’s existential inertia, compellingly leading the audience through his character’s journey. Stress Positions may at times feel heavy-handed with its social commentary, but its self-awareness keeps it engaging. Despite its flaws, the film leaves a lasting impression, offering a poignant commentary on identity politics and the human condition. As it unfolds, the turbulent journey leaves us yearning for more, akin to an unfinished sentence waiting to find its closure. Through the recurring motif of the massage gun, the film ingeniously circles back, exposing the characters’ genuine selves amidst the chaos.

Despite its imperfections, Stress Positions shines as one of the standout films of the COVID era. It not only entertains but also underscores the significance of representation. Theda Hammel’s contribution to filmmaking is invaluable, offering fresh perspectives that enrich our cinematic landscape with diversity and authenticity. Trans art holds immense importance, and we undoubtedly need more of it to reflect the diverse experiences and voices within our society.

Stress Positions is currently playing at the IFC Center in New York courtesy of NEON. The film will expand to additional cities in the coming weeks. 

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