Jesse Eisenberg’s second feature film as a director, ‘A Real Pain,’ takes a somewhat worn road-trip formula and uses it to probe deeper themes of familial tension, grief, and Jewish identity. Following cousins Benji (Kieran Culkin) and David (Jesse Eisenberg) as they journey through Poland, the film combines quirky indie beats with somber reflections on historical trauma. While A Real Pain is sometimes moving and insightful, it’s also weighed down by uneven character dynamics and a tendency to lean into cliches, making it more a mixed bag than a breakthrough.
Benji and David couldn’t be more different. Culkin’s Benji is a free-spirited, often abrasive personality with a talent for quick-witted humor and a knack for annoying nearly everyone around him. In contrast, Eisenberg’s David is the poster child of neuroticism, tamping down anxieties behind a polite veneer. The tension between them, rooted in unresolved issues and long-standing family dynamics, becomes evident early on, making it clear this will be a bumpy journey—on more than just the surface.
The plot kicks off with the cousins joining a tour in Poland to reconnect with their roots and visit Holocaust sites associated with their grandmother’s history. It’s a loaded situation, and Eisenberg’s script is deft at interweaving the heavy subject matter with moments of levity. However, much of the film’s impact depends on the lead performances, which are polarizing. Though full of life, Culkin’s Benji brings an obnoxious energy that grates over time. His charm might be endearing in small doses, but his outbursts and attention-seeking behavior make him a chore to watch. He’s often the center of attention, making the film feel like it’s orbiting his quirks rather than telling a cohesive story.
Eisenberg, playing a variation of his familiar anxious intellectual type, adds more understated weight as David, though his simmering inner life remains mostly underexplored. The film hints that David’s bottled-up anxieties are nearly erupting, yet his character development lags. He comes across as passive—a reluctant participant rather than a proactive counterpart to Benji. It doesn’t help that the film leans heavily on Culkin’s antics to carry emotional scenes, leading to an imbalance that undercuts its intended depth.
What’s good about ‘A Real Pain’ is its ability to capture an atmosphere of historical reflection. The locations and historical backdrops—ghetto remnants, Holocaust memorials—are respectfully shot, adding a layer of gravitas that grounds the otherwise chaotic interactions between the cousins. These moments reveal Eisenberg’s growing skill as a director who can evoke an emotional response from quiet, unspoken spaces.
Musically, the choice of Chopin’s classical pieces, particularly his haunting Nocturne in E-flat major, gives these solemn sequences a fittingly melancholic tone. Eisenberg knows when to allow silence or classical music to resonate with the film’s underlying sorrow, which is especially effective against Culkin’s loud character arc, giving a bittersweet contrast to the film’s more reflective passages.
Despite its flaws, ‘A Real Pain’ is a testament to Eisenberg’s ambition as a filmmaker, aiming to dig into generational trauma and identity themes with humor and heart. However, the film’s impact is diluted by an overly predictable narrative and a protagonist almost too exasperating to root for. While A Real Pain ultimately falls into familiar indie traps, it hints at more depth and sophistication from Eisenberg, should he continue developing his directorial voice. A thoughtful, if uneven, exploration of legacy and family, it’s a film with much to say but doesn’t always hit the mark.