A Real Pain 2024 Movie Review by Afdah

The 2024 U.S. Dramatic Competition program at Sundance showcased a diverse array of voices from the independent film community, presenting narratives that reflect various backgrounds, classes, races, and genders. The three films highlighted in this report can all be categorized as character studies; however, what is particularly refreshing is the stark contrast among these characters, with at least one expected to generate significant discussion throughout the year. This standout is the remarkable endeavor by writer/director/actor Jesse Eisenberg in his second feature, the outstanding “A Real Pain.” In contrast to his Sundance debut, “When You Finish Saving the World,” which felt somewhat disconnected from its characters, this film embodies a profound empathy. It explores the challenges of truly understanding one another's suffering while emphasizing that such limitations should not hinder our capacity for compassion. The narrative follows tourists navigating one of humanity's darkest periods, individuals distanced by time and circumstance from the events they contemplate, yet they approach it with respect. Concurrently, it delves into the lives of two cousins leading vastly different existences, striving to comprehend one another while acknowledging the impossibility of complete understanding. Eisenberg’s intricate script for “A Real Pain,” which recently earned the jury award for writing at Sundance, represents a nuanced character exploration that invites extensive discussion. However, the film's primary attraction lies in the extraordinary performance by Kieran Culkin. The recent Emmy winner from “Succession” demonstrates his potential as a significant talent for years ahead, delivering a performance that is bound to be a topic of conversation during the upcoming awards season. It is raw, authentic, and subtle—one of the finest acting displays I have witnessed in over a decade of covering Sundance. The movie can be watched on Afdah.

Who is Benji? He is the type of individual who arrives at the airport several hours in advance, not out of anxiety regarding his flight, but rather due to his desire to connect with others, as he often feels isolated on his couch at home. Many of us have a friend like him—the one who is already acquainted with everyone at the bar while you are still parking your vehicle. Benji is inherently sociable, genuinely interested in the lives of those he encounters. However, beneath this exterior lies a profound sadness. This is evident in Culkin’s portrayal as Benji embarks on a journey with his cousin David to join a tour group in Poland, where they visit a concentration camp and later explore the home where their grandmother grew up (the actual residence in the film belonged to Eisenberg’s grandmother). Benji had a close relationship with his grandmother, who recently passed away, making this trip a potential means of finding closure. Culkin transforms what could have been a flamboyant role—the exuberant travel companion, a familiar trope—into a character filled with authenticity, driven by emotions that are beyond his control. Although the dynamic between the two characters may appear simplistic on the surface—Benji is impulsive while David is overly cautious—the actors create a convincing chemistry that resembles that of brothers. They are two individuals seeking understanding and perhaps wishing to emulate one another, necessitating a return to their grandmother's origins to explore their own limitations. Without revealing too much, they do not discover a typical Hollywood resolution that brings them closer together; instead, they depart with a deeper comprehension of themselves rather than of each other.

A distinctly unique journey unfolds in India through Donaldson’s impressive debut, “Good One,” which showcases a standout performance by the exceptionally talented Lily Collias. She portrays Sam, a 17-year-old embarking on a camping excursion in the Catskills alongside her father Chris (James Le Gros) and his friend Matt (Danny McCarthy). Originally, Matt’s son was meant to join them, but his teenage indifference has been exacerbated by the impending divorce of his parents, leading him to reject the idea of hiking through the woods with his father. Initially, one might feel a sense of sympathy for Matt, and McCarthy effectively embodies this character's emotional detachment. He is navigating a challenging period in his life, compounded by the absence of his child. At least Chris has a “good one.” Donaldson serves as an observer, a fourth companion traversing these beautifully captured woods. Chris exhibits a somewhat abrasive demeanor, characterized by his A-type personality, as he ridicules Matt’s physique and blames Sam for packing incorrectly—when she asserts this, we find her credible. It is likely not the first instance of him attributing his shortcomings to her. Le Gros skillfully portrays a man who subtly manipulates those around him in every facet of his life. This behavior contributed to his divorce from Sam’s mother, and now she is on the verge of gaining a half-sister through Chris’ significantly younger wife. His character is unmistakable from the outset, while Matt’s persona is more elusive… until it becomes clear. Both Chris and Matt depart from these woods enveloped in a sense of failure that remains unaltered, yet what makes “Good One” particularly effective is how it reflects the observational prowess of its protagonist. Collias possesses an extraordinary talent that is often elusive for actors of her age: the ability to listen. Many young performers tend to appear as if they are merely awaiting their turn to deliver their lines, rather than genuinely engaging in the moment and responding to their scene partner’s dialogue and actions. Collias anchors “Good One” in every scene, emerging from those woods as a triumph for both her character and her performance.