Un dolor real

Jesse Eisenberg's second effort as writer-director sets out to be something unconventional. There's something of Richard Linklater's BEFORE trilogy in the DNA of A REAL PAIN, with some recognizable inheritance from Michael Winterbottom's TRIP series also apparent. The perambulatory pacing, the languorous cinematography that asks you to look beneath the surface of touristy sights, the dialogue that meanders through an unpretentious and unstructured unpacking of the meaning of life, the total absence of any "bad guys," the near total absence of any outright conflict, the barest hint of any goal guiding the plot aside from the completion of a simple itinerary... A Real Pain shares all these realistic features with those earlier, more spirited, life-affirming films. Yet somehow... it doesn't quite work.

I'm not sure what was at fault with why I never really got into this movie. I think a large part of it has to do with all the supporting characters (i.e. Everyone besides the cousins played by Eisenberg and Kieran Culkin). Will Sharpe's non-Jewish tour guide, the Rwandan convert, the old couple, the sexy divorcee... the characters are all very basic, very conventional, very boring. The actors who play them are fine, but there's not much they're given to do, and so they seem unnatural and lifeless, more like set decorations than people. Eisenberg knows how to direct a camera, I think; he knows how to put the proper cinematic elements in place. But perhaps he doesn't know how to direct actors, or maybe he just doesn't know how to write characters. There's never anything to suggest that these people exist beyond the moments we see them in, which perhaps could've been fixed with some more spontaneous improvisation from the actors.

Eisenberg and especially Culkin are better in this regard, but there's still something rather stilted and "written" about a lot of what they say and do. Eisenberg's "workaholic salesman with OCD" is largely one-dimensional, and the few times where his character expands beyond that facade seem more like forced acting than any kind of genuine glimpse into something deeper. Culkin is wonderful--a glimpse perhaps of his Succession character if Roman Roy actually cared about people--but I think that's just a credit to Culkin's talent; he somehow manages to transcend what he's been given to work with.

This is a decent indie film with a few good laughs, a couple of interesting ideas, a memorable tour of Poland, and a solid performance from Culkin. From the trailer and the reviews, I was expecting something much funnier and emotionally impactful, but I'd still recommend the movie to anyone interested in it.

I won't cover what others have already said. This isn't a comedy or a road movie and it's not some commentary on the horrors of war.

For me this quaint indie (feeling) flick is really an observation about living with someone with mental illness. If looked upon from this angle it is well observed and touching and uses its three acts to unfold all the different dynamics in the cousins relationships using the backdrop of the road trip and the visit to the concentration camp. It deliberately subverts expectations by not providing a defined ending (often the case in this situation) and the scenes often don't lead to expected outcomes. That's what life can be like when your are dealing with that issue.

For me this made the film an interesting (if flawed) study that was definitely worth the watch. YMMV.

"Grandma Dory" has passed away and left her two grandsons some money so that they can take a trip to Poland and see where she grew up amidst the Nazi invasion and subsequent holocaust. These two are cousins. "David" (Jesse Eisenberg) is a bit of a shy, geeky, type who lives in New York with his wife and child. "Banji" (Kieran Culkin) is quite the opposite. A free spirited, thinking and speaking individual who cares little for what anyone else thinks about him. The pair clearly love each other, but the behaviour of the latter continues to rattle his travelling companion, especially when they meet up with the other members of their touring party in Warsaw. What now ensues is quite a testament to both Eisenberg's vision as a writer/director but also to the inspired casting of Culkin. He is the kind of holiday companion I'd cheerfully have killed with a rusty harpoon. Loud, brash, opinionated and sometimes borderline cruel as he imposes himself on the group swearing as he goes. Gradually, though, we discover that both men have shields up; both are dealing with some fairly deep psychological issues in their own way and even ought these may clash, there is still far more fundamentally connecting them that not. There are ample opportunities to see the sights of Warsaw, and there is an haunting few minutes at the Majdanek camp where shoes, thousands and thousands of shoes, make you shiver. It's potent and it's often funny, darkly so, and in many ways it slots nicely into the recent panoply of dramas about the fascination by younger generations in the horror of war that those who endured actually want to get past and forget. It also shines a light on the whole business of tourism around these monuments, and does make it quite clear that sometimes these trips can become a statistical box-ticking exercise, especially for Americans, who want to say they've "done" that. An architectural monument equivalent of a safari "big five". In the end I found "Benji" to be a vulnerable but fundamentally selfish and unlikeable character - but I bet there are many reading this who profoundly disagree. That's proof that these two did their job well and I'd recommend you go see it in a cinema for a couple of powerful and characterful performances.

Watched this at the 2024 Sundance Film Festival.

Previously, Jesse Eisenberg made "When You Finish Saving the World" which was interesting but unfortunately a bit annoying. Here, Eisenberg's direction and writing for this movie shows he has massively improved as many of the characters are interesting and engaging, good dialogue conversations, and great performances, especially from Kieran Culkin who steals the show in the entire movie.

The narrative explores family history and complicated bondings as each of the themes and explorations on the subjects were handled well and it was funny, emotional, and compelling to observe. Including beautiful camerawork, good soundtrack, and conversations that felt real, genuine, and engaging to observe.

Eisenberg's approach on the chemistry, structure and pacing was good as he has created a really good compelling and personal story about family history and the true meanings of bondings and relationships. There were some soundtrack choices that felt a little out of place. But overall, Eisenberg improved himself and I look forward to see what else he could bring to the today.

I just finished this film and I have to say I'm surprised reading some of the bad reviews about it, I know film perception is subjective but I don't understand how someone could dislike this film. It was so interesting to me, and the thing is, nothing big really happens, you just follow these two cousins along their trip, it's normal, it's almost casual. There are not going to explain everything to you because there's no need for it. We have access to the superficial, to the bare minimum because that how the characters relate to each other, there so much they don't understand and so much that they don't say. The performances are all incredibly, especially Culkin. I was left crying by the end. Maybe you need to have dealt with depression to connect with it more. Maybe you need to have seen someone you love survive (or not) this painful illness. But I'm happy for this type of movies to exist. This stories also need to be told. As rare and unfitted for some people may seem.