Jesse Eisenberg’s latest project, A Real Pain, delves into the complexities of familial relationships through the lens of a heartfelt comedy. The film, about two cousins visiting their grandmother’s birthplace in Poland, brings both laughs and poignant moments as it explores the emotional intricacies between the characters. Eisenberg, who wrote, directed, and stars in the film, shares his inspirations, challenges, and how working with Kieran Culkin made the film richer than he initially imagined.

It all began with a random internet pop-up. Jesse Eisenberg was at his computer when an ad for a Holocaust tour caught his eye. The kicker? The ad had a parenthetical mention: “with lunch.” That seemingly mundane addition struck Eisenberg deeply, encapsulating what he found surreal about the modern desire to experience intense historical moments while maintaining comfort. This small spark ignited the creation of A Real Pain, a film that juxtaposes tragedy with humor to convey the challenges of connecting to ancestral pain in an increasingly detached world.

The story follows two cousins, David (played by Eisenberg) and Benji (played by Succession's Kieran Culkin), who embark on a group tour to Poland, the birthplace of their beloved grandmother. Alongside their attempt to connect with their roots, the film captures the underlying friction between the cousins, whose personalities couldn’t be more different: David is introspective and sensitive, while Benji is carefree, charming, and unpredictable. Their contrasting natures make for both funny and emotionally raw moments, keeping the story balanced between heartfelt depth and comedic levity.

Eisenberg speaks candidly about the emotional weight behind shooting on location in Poland. While he anticipated that filming outside his ancestors’ home would be a deeply cathartic experience, he found himself consumed instead by the demands of production. The harsh realities of directing, acting, and dealing with the minute-by-minute issues of a film shoot left little room for the introspection he expected. “Our trailers were parked literally adjacent to the cemetery where my family was shot and killed,” he recalls. But instead of catharsis, what occupied his mind were more immediate concerns—like how to manage the sunlight glaring into Culkin’s eyes during a pivotal scene.

Eisenberg captures the complexity of modern filmmaking, where the pressing logistics of a movie shoot often overshadow the emotional depth of the setting. For Eisenberg, the juxtaposition of grappling with the Holocaust’s legacy while worrying about camera angles and sunlight highlights the surreal nature of his journey.

Interestingly, Eisenberg initially considered playing Benji himself, a character that stands in stark contrast to his real-life personality. “I played this kind of part in a play called The Spoils, and I loved it,” he says. However, after discussing it with collaborators like Emma Stone and producer Ali Herting, it became clear that playing Benji while directing the film would be impractical. Kieran Culkin eventually took on the role, and Eisenberg now acknowledges how much better the part worked with Culkin’s unique energy. “Kieran’s the greatest actor of all time,” Eisenberg says, recounting the final scene they shot together late one night. “By this point in the shoot, he was so deeply ingrained in the role. He was just brilliant.”

One particular line in the movie—“You’re like an awesome guy stuck inside the body of someone who’s always running late”—became a point of obsession for Eisenberg. He recalls pushing Culkin to redo the line repeatedly to achieve the perfect pause, both on set and later in voiceover. His persistence, and Culkin’s eventual delivery, showcases the detail-oriented approach Eisenberg brought to every scene.

Eisenberg also reflected on the challenges of recreating authentic experiences for the film. The rooftop scene, for example, was intended to evoke nostalgia for the characters' time in New York City—a familiar, comforting setting amidst the unfamiliarity of Poland. However, finding the right rooftop in Warsaw proved unexpectedly tricky. “You think it’s the easiest thing in the world to find a roof in a city of tall buildings,” Eisenberg laughs, “but for one reason or another, roofs either looked incorrect, or they wouldn’t let us on, or there was no believable exit door.” Ultimately, the team found a rooftop that both served the aesthetic needs of the film and evoked the urban vibe that the characters would have experienced back in New York.

The connection to New York—through references to Chinatown and the Williamsburg Bridge—was another intentional decision. Eisenberg wanted to ground the film in the cousins’ shared history. “I romanticize Chinatown so much—you walk around at night, and it’s just this magical, mysterious place,” he notes. These details offer glimpses into the cousins' past, giving audiences a deeper understanding of their relationship and the nostalgia that motivates their journey.

Reflecting on the creative process, Eisenberg acknowledges how much the film evolved during production. He describes a scene that originally featured a longer conversation between Benji and David, which he ultimately decided to cut based on feedback from his mentor, Jim Begley. “It’s not time for reflection just yet,” Eisenberg says, admitting that while shortcuts can feel uncomfortable, they often serve the story better.

A Real Pain is a film about connection—to family, to culture, and to personal history. Through its humor and its deeply personal exploration of heritage, it captures the conflicting emotions of trying to engage with the past while navigating the complexities of the present. Jesse Eisenberg’s candid reflections on directing, acting, and dealing with production challenges reveal the balancing act required to bring such a layered story to life. It’s a journey that’s as much about grappling with grief and family tension as it is about finding moments of unexpected humor and grace.