Jesse Eisenberg delivers his brilliant sophomore directing effort, a deeply personal piece where his character Dave and cousin Benji visit Poland at the request of their recently deceased grandmother to see where she lived before escaping the Holocaust.
We pick up the story as Dave is heading from his neat city apartment for the airport, constantly on the phone with cousin Benji (Kieran Culkin) to ensure he is also on his way to catch his flight. There is plenty of time, but Dave’s multiple, nervous messages left on his answer services, not only suggest that he is deeply anxious, but that Benji might not be the most reliable person in the world. However, Benji is already there, sitting people watching, the busy airport a ‘cool place to hang out’. This sets up proceedings for what’s to follow; two relatives, more like brothers than cousins, heading to Europe to discover their heritage, a journey which won’t only be informative, but deeply emotional, too.
After entering the country, the two head to their Warsaw hotel where a package is already awaiting Benji – a pre-mailed bag of quality marijuana to enjoy while they are there. After a brief thirty minutes of washing, showering and admiring Dave’s feet in their city hotel room, the two hook up with Will Sharpe’s British guide and fellow tourists Marcia (Jennifer Grey), Mark (Daniel Oreskes) and Diane (Liza Sadovy), and Eloge (Kurt Egyiawan). All have a connection to the country; Marcia’s grandparents fled from the Holocaust; Mark and Diane have Jewish heritage, and Eloge is a refugee from Rwanda who has converted to Judaism. The group embarks on a journey across the region, taking in sights and key landmarks, including Lublin and Grodzka Gate, and then, following a very entertaining train sequence – Benji has a problem sitting in first class and moves to the back of the train, where his ancestors would have had to have sat. It’s a wonderfully written and performed character, Benji offering up many of the laughs, his contrasting outgoing though troubled character the opposite to Eisenberg’s more reserved, uncomfortable, awkward type.
Eisenberg doesn’t heap on the sentiment, choosing to underplay the scenes which ultimately makes it more powerful.
A film that made me laugh out loud many times also has its heartfelt moments, too, again a lot coming from Kieran Culkin’s performance. The two leads are there for personal reasons, but get caught up in the devastating history of the country. Eisenberg’s camera portrays Poland for its beauty, which contrasts with the reactions of Benji. The scenes in Lublin strike you immediately, which differs from the scenes later on when the group visit the concentration camp. Eisenberg doesn’t heap on the sentiment choosing to underplay the scenes which ultimately makes it more powerful.
Despite this being an absolute success for Eisenberg in his triple role of director, writer, and actor, cementing his status as a big new talent behind the camera, it is Culkin who shines bright in his first major appearance since wrapping on the final season as Roman Roy of Succession. In one key rooftop scene when the two are sparking up another joint, Eisenberg’s Dave says to Benji his envy of him being able to light up every room he walks in, and the actor has covetous talent. He literally lights up the screen in every scene and this is another star-making role that could draw early awards chatter.
A Sundance gem.
A Real Pain was reviewed at the 2024 Sundance Film Festival.
A Real Pain
Summary
Eisenberg’s second feature secures his status as an emerging filmmaker to watch but it is Kieran Culkin who more than steals the show with another star-making performance.
