Real People Are a Pain to Write
A Real Pain (2025)
Directed by Jesse Eisenberg
Starring Kieran Culkin and Jesse Eisenberg
Anybody can tell a story. The difficulty—the true artistry—comes when the characters, what they say, and how they act feel authentic. Jesse Eisenberg’s most recent film, A Real Pain, and its characters are as real as it gets.
I was first introduced to Jesse Eisenberg in David Fincher’s The Social Network—Zombieland never made it into my queue. I didn’t think too much about his portrayal of what is essentially Mark Zuckerberg, and that might be a testament to his talent. His performance served the story—never outpacing or outshining the narrative. If I’ve seen him in anything else since, I don’t remember. So when I heard he wrote and directed a film, and that it was receiving high praise, my interest was piqued.
A Real Pain follows two cousins, David and Benjy, played by Eisenberg and Kieran Culkin, on their journey to Poland to visit their late grandmother’s childhood home and Holocaust sites. David and Benjy are polar opposites—one is meticulously straight-laced and accomplished, while the other is a volatile mix of bohemian flair. This contrast creates immediate tension that can be awkward, off-putting and deeply poignant. Before their flight to Poland, Benjy informs David about the excellent marijuana he has for them upon arrival, which only heightens David’s discomfort. This tension—between Benjy’s bold extroversion and David’s anxious reserve—is the film’s rising energy, building toward its climax.
Much of the film’s buzz centers on Kieran Culkin’s performance, and rightly so. He is a dynamic presence—a human roller coaster with undeniable charisma. I first noticed him in Scott Pilgrim vs. the World (a cult-favorite 2010 action-comedy based on the graphic novel series), where even in a minor role, he commanded my attention. His portrayal of Roman in HBO’s acclaimed series Succession (HBO’s critically acclaimed drama about a media dynasty) catapulted him into the spotlight, earning him three Emmy nominations and one win. But even before the accolades, his on-screen presence had swagger. That likely stems from his personality and a lifetime spent in front of a camera. He made his debut at the age of 7 as Fuller in Home Alone, for god’s sake! (And for our younger audience, Home Alone is an American classic that you must see at least once in your life.)
Kieran’s strut beautifully blends with Benjy’s buried demons, and it’s this mix that injects A Real Pain with a vital balance of lightness and gravitas. It gives his interactions with other characters a deeper resonance. Simple gestures like patting someone on the back or squeezing their arm come across as invasions of personal space. Through Culkin, this invasion elicits annoyance, yet also a sense of liberation. Benjy defies convention, taking risks that may irritate or offend—but ultimately free. The story, however, leaves us wondering whether Benjy’s spirit is truly free.
Both Eisenberg and Culkin deliver remarkable performances. But what stood out to me most was how the film was woven together. Two cousins, as different as night and day yet intrinsically connected, embark on a journey to Poland for a tour designed for members of the Jewish faith. The film’s historical context could have easily been overdone, but Eisenberg skillfully downplays this by keeping the focus on David and Benjy. And for good reason—their relationship possesses profound depth, and the story peels back layer after layer to reveal a raw emotional core. Still, Eisenberg intentionally leaves some aspects of these characters unexamined, allowing the story to linger with us long after the credits roll.
Is A Real Pain too understated? Am I overlooking its shortcomings? Or is the Academy too preoccupied with blockbusters and bold stylistics to appreciate the brilliance of such a humble story? I think A Real Pain deserves more recognition. It is as compelling—if not more so—than many films on the Best Picture list. Crafting characters who make authentic choices and express themselves believably is no small feat. And that’s exactly what Jesse Eisenberg accomplished. At the very least, he deserved the Best Original Screenplay award. Even though I’m happy for Sean Baker, Eisenberg was the underdog I wanted to see prevail.
But maybe that’s the spark of drive Eisenberg needs to keep honing his craft—because I hope to see more from him as a writer and director. The man has many talents, and I look forward to witnessing them shine again on the silver screen.
This film is very cinema.