By Hermione Silver, Year 12
In a world ravaged by threats of war, humanitarian crises and tyrannical phone bans, it’s easy to feel adrift, searching for something to lift our spirits. Written and directed by Eisenberg himself, A Real Pain is just that, far from what its title might suggest. The film is what I would describe as a refreshing 90 minute coming-of-age story– a reminder that films don’t have to last over 2 hours and cost tens, or hundreds, of millions to produce. The story follows cousins David and Benji as they tour Poland, retracing their late grandmother’s past as a Holocaust survivor. As they navigate their starkly different personalities—David, reserved and pragmatic, and Benji, impulsive, extroverted, and strong-willed—their journey becomes as much about their own fractured relationship as it is about uncovering the past. Throughout, moments of humor seamlessly intertwine with heartfelt reflection on trauma and family history, in what characterises this both charming and profoundly resonant story about the pst and healing fractured bonds.
So what makes this film so great? One aspect that I feel lent well to the tone and overall impression of the film was how the side characters were written, and how their relationships with the protagonists developed their own arcs. David and Benji find themselves part of a small Jewish heritage tour, accompanied by a diverse group: a survivor of the Rwandan genocide who has converted to Judaism, a recently divorced woman, and a retired couple from Ohio. Leading the tour is James, a gentle and knowledgeable guide. This intimate group setting allows for meaningful connections to form—not just between the characters themselves, but also between the audience and the story. I also appreciated how the writers don’t succumb to overt stereotypes and one-dimensional characters written in for comedic relief, an, in my opinion, fairly common pitfall in such films.
Films exploring sensitive topics such as the holocaust will rightly have to tread carefully as filmmakers submit their work to the scrupulous eye of the audience. Additionally, the film being a comedy and drama means it must strike a delicate balance, both acknowledging the weight of history whilst finding space for humour and creative freedom. A Real Pain achieves this by ensuring that its comedy never undermines the gravity of its subject matter. Instead, humour emerges naturally from character dynamics, cultural differences, and the awkward yet endearing moments of travel. Yet the brutal moments, such as the look into a Polish concentration camp, are treated carefully, depicting the horrors of the holocaust and making sure not to undermine the significance the past holds within the story.
At this point, I would be remiss not to point out the acting which perhaps doesn’t make the film on its own, but allows it to be as authentic and poignant as it is. Kieran Culkin’s Oscar, as deserved as it is, feels slightly misplaced since labelling him as a « supporting actor » feels like an understatement. Although David is formally recognised as the main character, Benji’s character and plot-line is arguably the centre of the film. A quote I feel sums up this point comes from David near the end of the story: « You see how people love you? Do you see what happens when you walk into a room? I would give anything to know what that feels like, man. To know what it feels like to have charm. To light up a room when I walk in. But you light up a room and then you, like, shit on everything inside of it. » Kieran Culkin embodies this perfectly with his performance. Thanks to how he develops this profound character, we’re able to hate Benji, love him, empathise with him, and cry for him.
Ultimately, A Real Pain succeeds not just as a comedy, but as a deeply human story—one that resonates long after the credits roll. It is a testament to Eisenberg’s talent as both a filmmaker and storyteller, proving that films don’t need grand spectacle or blockbuster budgets to leave a lasting impact.
