Sadness, if left unchecked, can linger, shadowing and plaguing us throughout our lives. It can fester within, making it difficult to find happiness. It is a pervasive emotion that forces us to confront grief, loss, and the essence of who we are today.
A Real Pain marks the second directorial effort by acclaimed actor Jesse Eisenberg, who also stars in and wrote the film. The story blends classic road-trip tropes with the mismatched buddy genre, delivering a poignant narrative. Co-starring alongside Eisenberg is Kieran Culkin, best known for his portrayal of Roman Roy in Succession. Culkin’s performance has been widely celebrated, earning him numerous Best Supporting Actor awards this awards season. As a fan of both Eisenberg’s work and Succession, I had plenty of reasons to eagerly anticipate this film.
The story follows two Jewish cousins from America, David (Eisenberg) and Benji (Culkin) who, in the wake of their grandmother’s death, embark on a Holocaust tour of Poland to learn more about their heritage. The film tackles generational trauma, Holocaust tourism, and the complexities of identity and heritage, weaving these themes into a deeply introspective yet darkly comedic narrative. One of the aspects I admired most was how delicately Eisenberg approached these heavy themes. One scene, in particular, set in a concentration camp, left a genuine lump in my throat. Yet soon after, Eisenberg’s signature blend of social discomfort, jumpiness, and quirkiness infuses the film, bringing vibrancy to scenes where David and Benji quickly shift between topics like isolation, depression, and what it means to connect with others.
Eisenberg’s direction is an oddity. He understands the importance of lingering at peculiar points, to allow breaths and growth throughout his scenes. For example, a fixation of Benji’s is his cousin’s feet, claiming that they remind of their recently deceased grandmother. The Camera cuts to the image of David extending each one of his toes, one by one, accompanied by a crescendoing piano score. The scenes feel unusual but in a simple moment Eisenberg opens up the character of Benji revealing the relationship he shared with their grandmother and his oddball ways of connecting with others. It’s the simplicity and uniqueness of these directing choices that allow Eisenberg to open up his characters in rare ways.
While my vote doesn’t count, I sincerely hope Culkin wins the Oscar. His performance transitions effortlessly from funny and vibrant to sad and hopeless. Eisenberg seems to have recognized Culkin’s ability to convey emotional depth through subtle physical expressions. A single furrowed brow, a flicker of the eye, or a tilt of the head encapsulates an entire character arc, and Culkin does this masterfully. The film’s opening and closing scenes, in particular, evoke this emotional resonance, moving even someone like me—who rarely cries at movies—to shed a few tears. Culkin is already the front-runner for the award, but if he misses out, he still deserves all the praise.
A Real Pain reminds us not to let grief fester, as those we love most may be suffering in ways we cannot see. Perhaps, for some, a journey as profound as a Holocaust tour can be the healing experience we didn’t know we needed.
