A Real Pain

Everything in this movie flows naturally. The plot revolves around the characters of Jesse Eisenberg and Kieran Culkin, who deliver incredible performances with well-written, heartfelt dialog, alternating naturally between funny and melancholy moments. The cinematography is stunning, it's set in Poland on a sightseeing tour, and this gives you a feeling of immersion, almost as if you were there. It's a touching, funny and genuine movie, which conquers with its authenticity.

Jesse Eisenberg had already shown in previous projects that he’s more than just the meticulous actor from “The Social Network.” But with “A Real Pain,” he reaches a new level as a writer and director, delivering a film that’s both uncomfortable and deeply human. This is a movie that doesn’t try to sugarcoat grief, guilt, or the messy complexities of family relationships. On the contrary, Eisenberg seems determined to peel back those layers with brutal honesty, yet always with a sensitive eye toward what connects us, even when everything feels fractured.

The plot revolves around David (played by Eisenberg himself) and Benji (Kieran Culkin), two cousins who take a trip to Poland after the death of their grandmother, a Holocaust survivor. The premise might sound like familiar territory—an “emotional road trip” movie with the promise of reconciliations and predictable self-discoveries. But what Eisenberg does here is sidestep the traps of that format, refusing to turn grief and trauma into obvious catalysts for redemption. In fact, the film seems suspicious of that very expectation. It’s not interested in easy resolutions because it understands that the real “problem”—the real pain of the title—is precisely what lingers when the answers never come.

Kieran Culkin delivers a haunting performance, the kind that sneaks up on you—no big dramatic gestures, no cathartic monologues. Benji is that guy you know: the friend or relative you can’t ignore, the one who says what no one wants to hear, and in doing so, reveals truths you’d rather keep buried. He’s uncomfortable not because he’s mean, but because he refuses to perform the kind of emotional maturity society tends to reward. Culkin captures this essence with disarming naturalness, balancing vulnerability and arrogance in a way that makes it impossible to reduce Benji to the “troubled cousin” stereotype. What we see is a raw, complex human being, desperately trying to find meaning in a pain he himself can’t fully understand.

Eisenberg’s script is sharp and layered. One of the most interesting aspects is how the film deals with collective memory and the weight of history. The scenes where the group of tourists visits Holocaust sites could’ve easily slipped into sentimentality or hollow reverence, but Eisenberg avoids that with subtle choices. Silence, for example, is used as a powerful narrative tool. Instead of a manipulative score, there are moments where the sound drops out entirely, forcing the viewer to sit with the space and the emptiness—both physical and emotional. The discomfort this creates is intentional, a way of reminding us that some pains can’t (and maybe shouldn’t) be neatly packaged.

The dynamic between David and Benji is the heart of the film, and it’s fascinating to watch how Eisenberg builds this relationship without falling back on clichés. They’re not just opposites who magically complement each other; there’s mutual envy disguised as impatience, an intimacy that borders on irritation. David, with his seemingly stable life, envies Benji’s raw authenticity, while Benji despises David’s conformity but secretly craves that very stability. The film never spells this out explicitly, but it’s there—in the sidelong glances, the awkward silences, the arguments that start over trivial things and quickly spiral into personal attacks laced with old resentments.

Visually, “A Real Pain” is unpretentious but no less impactful. The cinematography of everyday places in Poland—streets, trains, rural landscapes—is handled with a simplicity that avoids exoticism or over-stylization. This is crucial to the film’s tone, which wants to remind us that the past isn’t frozen in museums or memorials; it lives in the details, in the people who still walk those streets, in the stories that continue to echo. Eisenberg has the sensitivity not to turn the setting into a symbolic backdrop, but rather an integral part of the characters’ emotional journeys.

If there’s a minor critique to be made, it might be the film’s own restrained nature. For some, it may feel too small, almost anticlimactic in its refusal to deliver a big cathartic moment. But that’s precisely the strength of “A Real Pain.” It understands that real emotional impact rarely comes in dramatic explosions. It builds in layers, in small gestures, in prolonged silences and interrupted conversations. It’s a film that lingers long after the credits roll because it doesn’t offer easy conclusions—just the certainty that pain, real or not, is part of the human experience.

As a Polish person I get excited when Poland gets barely mentioned, whole movie set in Poland ? I was so invested. Other than that, I loved the dynamic between them two.

Great movie and amazing performances from Culkin an Eisenberg.

This realism is what makes A Real Pain resonate so deeply. It’s not about the grand transformations or life-changing epiphanies that cinema often promises. Instead, it’s about the small, messy steps toward understanding, healing, and connection. And while the journey might not be as insightful about suffering as it could have been, its sincerity shines through. In the end, the film reminds us that healing isn’t a destination—it’s a process, one that’s just as unpredictable and imperfect as the characters themselves.

tears: shed
life: changed

I can't believe this isn't up for best picture

Let's all congratulate Kieran Culkin on his Oscar.

A real surprise for me. I thought the movie looked interesting and hadn't known anything else about it.

I honestly don't know Kieran Culkin from any other role,only as “Oh, the brother from Kevin Alone Home”
But I really liked the role after a few minutes.
I didn't consider the role to be annoying but I thought you could tell within the first few minutes that there was something wrong with the character and that the person was trying to cover something up.
The cast was right for me and it worked out well.

The 90 minutes suit the movie well, a bit shorter than many other films. The characters don't get any or almost no background story, but that didn't really bother me here. It was simply a beautifully written story that sometimes seemed as if it hadn't been written.
I just felt that throughout the movie you get to know what “the real pain” is supposed to be. Just as little is revealed about how it ends, you can decide for yourself.

For me, it was a story that went deeper than I expected. I will certainly watch the movie again.

>*"I know my pain is unexceptionnal so I don't burden everyone with it."*

Solid, well-written and layered dramedy. Perfect balance between funny and sad, Jesse Eisenberg really controls the tones with this one and knows when things should be funny or sad. It's quite the clash of personality types and the interactions are so layered and entertaining to watch. I didn't expect that level of depth mostly given through dialogue and mannerisms. Kieran Culkin and Jesse Eisenberg both did amazing, they have chemistry and both get moments where they get to shine. Love the idea of going on a tour, Poland looks beautiful and the holocaust stuff was emotional. A lot of emotional moments but Eisenberg's oversharing moment at the table was probably the high point for me. If I had to look for negatives some scenes feel like they should go on for a little longer (rooftop scene ended so abruptly) and it needed it's own score instead of a well-known symphony. Overall this is very impressive for a second attempt at directing a movie for Eisenberg, way better than the first one he did. Powerful ending and themes, really stuck with me afterwards.

Funny and heartfelt and the relationships feel real and organic. Eisenberg and Kieran Culkin both killing it. Works on a lot of levels without feeling the need to put a cap on it. Scratched the same itch for me as The Holdovers while being completely different.