A Real Pain

Although the movie explores personal pain, it wnds with no real purpose or resolution. In fact, it could have been fedt out entirely.

No character evolves or learns from the exprience, and the concentration camp sequence is only there for shallow effect.

The McCulken character "Benji"is unbelievble and overplayed, and really just makes you angry. He is so much of a jerk. Eisenberg's character doesn't ring true.

Frankly, the rest of the cast were quite interesting, more than the two lead characters. I wish we had learned a bit more about each of their stories.

So... The movie just played on empty emotion for me.

"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.

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.

In 2022, Jesse Eisenberg's directorial debut, 'When You Finish Saving the World,' was released. A comic drama about the contentious relationship shared by a mother and son, it was not exactly a commercial success, though garnered some critical acclaim. Time's Stephanie Zacharek noted Eisenberg as "a thoughtful filmmaker, devoted to showing his characters as multi-dimensional, flawed human beings," while The New Yorker's Anthony Lane opined that the film was "taut with unhappiness but allows itself to be funny."

Those same observations could also easily be applied to his second feature 'A Real Pain'. It follows two Jewish Americans, cousins Benji and David, who embark on a trip to Poland to visit their ancestral home. Benji is outspoken and free-spirited, standing in stark contrast to the reserved David. As they explore Poland with their tour group, they are forced to confront their relationship, revealing deep-seated pain and insecurity on both sides.

On paper, it doesn't sound like a comedy- in fact, it sounds rather dour. However, to describe the film as such would be to do a disservice to Eisenberg's nuanced direction and screenplay. It is a bittersweet examination of family, both funny and heartbreaking, as well as a sharply written character-study tackling important themes. Through his deceptively simple, straightforward story, Eisenberg crafts a universal tale that many will find relevant.

It is a film about family, about navigating the ties that bind- perhaps about the need to maintain connections with those we love. It is about more than that, though. It is a story about the past, and how we, as people, deal with it- past mistakes, past histories, shared past experiences. Through their journey, Benji and David confront not only their own personal histories but also the collective memory of their family and their cultural heritage. As they uncover layers of their shared past, they are forced to grapple with the weight of generational trauma and the impact it has on their present lives.

The film is beautiful in its subtlety, Eisenberg weaving these story-threads unostentatiously. Moreover, he has a great ear for dialogue, and the conversations between the characters sound like just that: conversations. The film is not just a barrage of quips heavily laced with sarcasm, as many comedies are today. Although at times hilarious, the dialogue isn't insincere: characters actually have discussions and debates about topics of import.

Furthermore, Eisenberg's characterisation is deft. Benji and David feel like real people, not cardboard cut-outs with one aspect to their personalities. They're not drawn in black and white, but in shades of grey. Practically every character in the film is a multi-dimensional one, and their interactions with one another brim with authenticity. It's a testament to Eisenberg's screenwriting prowess that every character, no matter how small or inconsequential, feels fully fleshed out; with a life going on after the screen fades to black.

The film is also a technical achievement. Director of photography Michal Dymek's cinematography is as subtle and unassuming as the tale itself. He captures some haunting imagery, from Poland's cobble-stone streets and grim, post-Soviet architecture to the cold cruelty of a concentration camp. These visuals not only ground the narrative in a palpable reality but also evoke a deep emotional response, underscoring the film's themes of trauma and history.

In addition, the music of Frédéric Chopin is interwoven cleverly into the film, becoming a character in itself, his melancholy melodies seeming to heighten the drama and power of proceedings. Further, Robert Nassau's editing ensures the film has a good pace, never wanting for momentum.

Kieran Culkin and Jesse Eisenberg star as Benji and David, respectfully. Culkin is utterly terrific, playing Benji with a winning blend of charm and charmlessness, masterfully displaying his vulnerabilities and complexities. As Kris Kristofferson wrote, "he's a walking contradiction," who can light up a room as easy as he can drain all the life from it. Compelling and multi-faceted, Culkin's may be the best performance of 2024; so completely does he embody the damaged, charismatic character.

Eisenberg is the straight man to Culkin's gregarious charmer, underplaying it expertly. David is the stable one of the two, but not without his own issues. Eisenberg brings a lot of nuance to the role, capturing the subtleties of a character whose outward composure belies an internal pain. Their supporting cast do equally strong work, from the likes of Will Sharpe as the cousins' tour guide to Jennifer Grey as one of the tour group; none can be faulted.

In conclusion, Jesse Eisenberg's 'A Real Pain' is an extremely accomplished piece of work. Through its blend of humour and heartache, the film offers a poignant exploration of family, heritage and the complexities of human relationships. Eisenberg's strong direction and screenplay, combined with stellar performances from the cast, make it an unforgettable piece. A beautiful and thought-provoking journey resonating on multiple levels, 'A Real Pain' is a real joy.

I was really impressed by this movie. In my opinion it's a really original story. It's strength lies in it subtlety. It very accurately depicts the duality of people's character. The beauty and the shadow. I found it very interesting to see how what looked like "negative" behavior turned out to have some positive effect. How nothing is black and white. How being very direct also means being honest for example. It really makes you think.

The dynamics in the group were also interesting and heart-warming to watch. It shows how people can really connect over a short period of time.

Definitely worth the watch for those who are interested in the complexity of humans.