**A Real Pain 2024, A Movie Review by Afdah!**
Two Jewish cousins, who share a bond despite their estrangement, honor their grandmother's final wish as outlined in her will: to visit her former home in Poland, a place she left behind when she escaped the Holocaust. While the premise may appear predictable, with expectations of emotional connections, profound reflections on the Holocaust, and a cathartic experience upon visiting their grandmother's residence, the strength of the screenplay, crafted by Jesse Eisenberg—who also directs and stars in this intimate film—lies in its ability to transcend conventional genre boundaries. The cousins exhibit starkly contrasting personalities, setting the stage for anticipated conflict and eventual reconciliation. Tension is evident from the beginning. David (Eisenberg) is a meticulous, rule-oriented individual, married with children, who creates the online banner ads that many find unappealing ("you lead a failed capitalist life," his cousin remarks). In contrast, Benji (Kieran Culkin) is a troubled free spirit, oscillating between charisma and social awkwardness, residing in his mother's basement and indulging in marijuana, as described by their grandmother regarding third-generation Holocaust survivors. Their differences are highlighted in the initial scenes: David, in a taxi en route to the airport and running late, incessantly calls Benji to provide updates on their location, while Benji remains composed at the airport, observing those around him and deliberately avoiding his phone. Will they find common ground? The two men, both in their thirties, travel to Warsaw, where they join a group of generally non-observant Jews (David has openly stated his disbelief in God). This group includes a pragmatic older couple from Eastern Europe who are inseparable, Marcia, a woman recently abandoned by her husband (Jennifer Grey, a far cry from her role in 1987’s “Dirty Dancing,” set in a Jewish resort in the Catskills), and Eloge (Kurt Egyiawan), a reflective Rwandan who converted to Judaism, recognizing parallels between the Holocaust and the genocide in his homeland. The group of six is guided by Jam. Enjoy this film on [Afdah](https://afdah.live/).

During a pause to contemplate a monument commemorating the Warsaw Ghetto uprising, Benji prompts the group to pose among the statues, inviting them to envision themselves as part of that historical moment. David expresses that Benji's suggestion is inappropriate, bordering on sacrilege; however, Benji remains undeterred and soon engages everyone—except for David, who stands apart, holding all the cell phones and taking pictures of the others. The tour's main destination is Lublin, which was once a vibrant Jewish hub, as evidenced by the remnants of a Jewish bakery, a temple, a bookstore, and an association. Additionally, the nearby Majdanek concentration camp, a site of imprisonment and mass murder, witnessed the deaths of at least 60,000 Jews. The visit to the camp is profoundly moving, featuring its former gas chambers and a wall adorned with shoes. As the group returns to their hotel, James inquires about how the experience has impacted the six individuals on the bus. Most remain silent, lost in their thoughts. Eloge remarks, “I was stricken,” adding that such a feeling is preferable to apathy. Benji is overwhelmed with emotion, his head buried in his hands, consistent with his character. David attempts to console Benji but appears more embarrassed than empathetic. No one achieves true catharsis. Remarkably, Eisenberg manages to shift the focus away from the Holocaust, even while filming in Poland and addressing the genocide directly. During dinner at an upscale restaurant, where a pianist plays Hava Nagila, a celebratory Jewish folk song evoking pre-war Poland, Benji disrupts the atmosphere with his anti-social behavior, possibly stemming from discomfort with the moment's kitsch and perceived inauthenticity. After Benji departs, David offers an apology to the group but also reveals too much: “I love him. I hate him. I want to kill him. I want to be him.” The cousins' subsequent visit to their cherished grandmother’s home proves disappointing. They find so little of her essence and vitality that had existed in their memories that they leave without even a single photograph. Culkin delivers an outstanding performance as the impulsive Benji. While his portrayal may occasionally appear excessive and chaotic, his character maintains a depth that contrasts sharply with the one-dimensional nature of his perpetually youthful Roman Roy in the television series “Succession.” He even manages to coax the cautious David onto hotel rooftops, disregarding alarmed exit signs, while indulging in marijuana. If this role of a charismatic leader can be executed with subtlety, Culkin has certainly achieved that. What could have devolved into a sentimental buddy film, featuring Benji as the extroverted believer and David as the introverted skeptic bonding over their shared connection to the Holocaust, transcends such expectations. The "real pain" referenced in the title pertains to the emotional struggles of two cousins who genuinely care for one another and wish to strengthen their bond, yet find themselves unable to do so. The Holocaust, which is approached with a bold perspective in this film, is portrayed as both overwhelming and insufficient. She poses the question: Are we, as a society, prepared to de-center the Holocaust? Perhaps. He responds: While the broader "culture" may be ready for this shift, some individuals, including Jews not represented in the film’s tour group, may find the concept objectionable.