Millennial ennui is a term that has been thrown around a lot lately, and for good reason. With the rise of streaming services and the decline of big-screen comedy, there has been a void left to be filled by younger voices who can accurately capture the experiences and frustrations of millennials. Two recent films, Problemista and Drugstore June, do just that.
Julio Torres, the writer, director, and star of Problemista, and Esther Povitsky, star and co-writer of Drugstore June, are both in their thirties but play characters who seem to be stuck in a postgraduate, preprofessional limbo. Their stories may be different, but they both rely heavily on their mothers and find solace in their own little bubbles.
Problemista follows Alejandro, a young man who has moved to the U.S. from El Salvador in order to apply for a program at Hasbro. While waiting to hear about his application, he works a dead-end job and scrambles for a visa sponsor when he is fired. Meanwhile, June in Drugstore June lives at home with her family and works at a local pharmacy with no concrete plans for the future. Both characters represent the struggles and uncertainty that many millennials face.
What sets these films apart is their ability to address millennial fragility without solely focusing on it. June withdraws into her teenage bedroom by choice, while Alejandro gives off the impression of someone who would like to retreat but hasn’t been given the opportunity. They both use wistful imagination and the harshness of their circumstances to shield themselves from the world.
Povitsky and Torres are right in the heart of the millennial generation, but their films also touch on elements of Gen Z culture. Drugstore June incorporates jokes and ideas from Povitsky’s stand-up act, while Problemista displays touches of deadpan surrealism reminiscent of Spike Jonze or Michel Gondry. These films feel authentic and genuine, rather than calculated and unconvincing.
Problemista is the more ambitious of the two films, utilizing the talent of Tilda Swinton to play Alejandro’s boss Elizabeth. While she is a frustrating character, Alejandro sees something in her immovability that resonates with his own experience. Drugstore June, on the other hand, is a more light-hearted film that follows June as she plays amateur detective to solve the robbery of her pharmacy.
It’s hard to say if Povitsky and Torres will continue to create films that capture the essence of millennial ennui. Their aversion to easy formulas and their unique visions make it difficult to predict. However, even if these films turn out to be one-offs, they are still liberating in their ability to break the mold and offer a fresh perspective on comedy.
In a world where millennials are constantly navigating broken systems and facing uncertainty, it’s refreshing to see comedy that reflects their experiences. Problemista and Drugstore June may not achieve blockbuster success, but they are paving the way for a new generation of comedians who can accurately capture the struggles and triumphs of millennial life.
