Review
Culture
Film & TV
Mental Health
Trauma
5 min read

The battle between seen and unseen pain

Jesse Eisenberg explores how the generations cope with pain.

Krish is a social entrepreneur partnering across civil society, faith communities, government and philanthropy. He founded The Sanctuary Foundation.

Two male cousins converse across the aisle of a train.
Kieran Culkin and Jesse Eisenberg.

In today’s ultra-developed world, where technological and medical advances have reached unprecedented heights, suffering remains an unsolved problem. While the World Health Organization claims the successful prevention, elimination, or treatment of more diseases than ever before, it also highlights significant increases in anxiety, depression, and stress-related disorders worldwide. This paradox raises questions not only about the root causes of mental health suffering but also about the way we understand its current prevalence and impact. Are today’s struggles any different to those others have experienced before us? Is the pain equally real? As we approach the eightieth anniversary of Holocaust Memorial Day, can we truly equate the silent struggles of contemporary emotional health challenges with the unimaginably harrowing experiences of those who endured the worst horrors of war, violence, and genocide?  

Jesse Eisenberg dares to tackle these complex questions with his directorial debut, A Real Pain, a masterful exploration of trauma, resilience, and the search for meaning. Co-starring Kieran Culkin in a career-defining performance, the film takes viewers on a journey that is part road trip, part comedy-drama, part historical reflection, and wholly compelling. I believe it offers a timely and deeply thought-provoking challenge to consider how we recognise and process pain across generations as well as understand the way pain shapes – and reshapes – our lives.  

In the film, Eisenberg and Culkin portray two estranged Jewish-American cousins, David and Benji, who embark on a shared mission to retrace the steps of their grandmother, a Holocaust survivor. What begins as a simple road trip to Poland quickly transforms into something much more as the brutal reality of intergenerational trauma and mental health struggles rise to the surface.  The film’s themes can be explored through three key lenses: the passing on of pain, the proximity of pain, and the problem of pain. 

The passing on of pain 

At its heart, A Real Pain is a story about legacy—the burdens and blessings passed down through generations. Though their shared grandmother is no longer alive, her story of survival, resilience, and eventual flourishing has left a profound impact on her descendants. Her story draws the cousins in, but it also draws them together and apart in different ways over the course of the trip. There is tragedy and comedy, and poignant moments of connection as well as frustration as Eisenberg explores how trauma echoes through generations, affecting different people in different ways, weighing heavily on those who did not live through the original events. This theme is handled with nuance showing both the strength and fragility that come from confronting a painful past. Ultimately it brings us to a new question – how do we honour the suffering of those who came before us while also finding our own path, or paths, to healing? 

The proximity of pain 

As the cousins delve deeper into their family’s history, the film juxtaposes the grandmother’s resilience in the face of antisemitism, war, and Holocaust with Benji’s struggles. Despite severe loss, grief and trauma, the grandmother went on to live a meaningful life. Benji on the other hand struggles to keep on top of his daily responsibilities, hold down a job, and maintain relationships. He struggles to find any meaning in his life and reveals he has attempted suicide. How, he wonders, did his grandmother find the strength to fight for her life against the backdrop of the Holocaust when he can’t even navigate the relative peace of middle-class America? This question seems to add to his despair. He seems thoroughly beaten.  

Eisenberg does not provide easy answers but instead invites viewers to wrestle with these complexities of life and death, resilience, and vulnerability. He forces us to confront our assumptions about suffering and strength. By making us reflect on which pain is more real, he seems to have found a way to challenge us both to honour the reality of past trauma and recognise the reality of the struggles faced by those around us.  He has certainly found a way to help us empathise both with the millions of people who are currently displaced and traumatised by violence, conflict, and displacement, and, equally, with the millions whose mental health is in tatters.   

The problem of pain 

At its core, A Real Pain tackles the universal question: what do we do with suffering? Do we bury it in the past? Do we pretend it does not exist? Do we insulate ourselves from the pain of others? Do we respond with frustration and anger or with patience and empathy? Do we accept pain as a tragic by-product of existence? Do we struggle under the burden of it? Do we let it defeat us? Do we find ways to learn from it? Can pain make us stronger? Can it make us better people? Does it point to something deeper within us or, indeed, something beyond us? 

Right in the middle of the film, David and Benji meet a survivor of the Rwandan genocide. who provides a stark reminder that the horrors of the Holocaust are not just consigned to history, that even today there are places where entire people groups are being targeted, destroyed, and displaced. This character has clearly found solace and meaning through his faith, in contrast to the cousins’ secular Jewish identities. The tension between belief and unbelief runs through the film and reflects the wider experience of many for whom pain has been a critical factor in their journey either to faith or away from it.  

For C.S. Lewis, the author of the Narnia chronicles who offered spiritual solace to the nation during the Second World War and who was personally familiar with suffering writes: “God whispers to us in our pleasures, speaks in our conscience, but shouts in our pains: it is His megaphone to rouse a deaf world.” Pain, for many Christians like Lewis is supposed to draw us towards faith – it is an urgent invitation to seek meaning and connection in a fractured world. Pain reminds us of our mortality and vulnerability, and our dependence not just on others, but perhaps too on an Almighty being who offers hope, healing and the promise of a life beyond this in a world where there is no more death, no more tears, no more pain.  

With A Real Pain, Jesse Eisenberg has crafted a film that will make you laugh and cry and think and discuss and reach out to others, or even to God.  This film invites you to reflect on the past, present and future, to wrestle with the pain we carry and to seek meaning beyond it. It’s a must-watch for anyone who dares to reflect on life’s most profound questions.  

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Article
Church and state
Comment
Community
Trauma
5 min read

After Southport: how to communicate amid tragedy, rumour, and riot

Handling the media in the aftermath brings dread, discretion and dignity

Stuart is communications director for the Diocese of Liverpool.

A media pack await a press conference in a street.
Media covering the Southport attacks.
The Emperor of Byzantium, CC BY-SA 4.0, via Wikimedia Commons.

Working from home in the quiet town of Ormskirk, about four miles from Southport, the first I noticed was a cacophony of sirens accompanied by our local Facebook groups buzzing with speculation over what it was this time. The news started breaking. An incident in Southport, vague details at first but enough to start that feeling of unease.  

Then the phone call and email. The local vicar and one of our Archdeacons seeking advice as inevitably the media would be looking for comment. I’ve taken a similar call many times over the 20 years I have worked with the church. It sets a mix of contradictory emotions. Selfishly you can’t help thinking there goes my plans for the day before you are sharply brought up to the knowledge that the reason for this is a tragedy for others.  

Southport brought out a further emotion. When I was a student, I lived for a year close to the location of the stabbings. 30 years on and the suburban area I knew was seemingly unchanged. Yet everything was different. 

The role of the press officer at this point involves navigating a tricky balance. You have a job to do, the journalists you deal with have a job to do. You are constantly fielding phone calls, jotting messages juggling time slots. You have a relentless barrage of people putting interview requests in and you want to ensure the right voices are heard and that those who represent aren’t worn out by interview upon interview. 

Then you remember what caused the story in the first place. You think of the emergency services working hard to support those in need. Above all you think of the victims and the families – at that time not knowing how many or how serious. And the sense of gloom deepens as the rumours of how serious the situation spreads before you get word of a police conference fearing the worst before the worst gets confirmed. 

At these times the mood amongst the media teams always feels strange. Acutely aware of the pain of the situation and sympathetic to what’s happened they can’t escape the job they have to do. I have seen this over many years mainly through the management of the press pens outside funerals at Liverpool Cathedral and churches across the region. You get to know some of the pack well, mainly and somewhat grimly reuniting at the next tragedy. They are massively co-operative with a strong sense of camaraderie, yet you can feel the pressure coming down to them from their news and picture desks. So, a sharing of resources and support occurs underpinned by a hint of journalistic competition.  

The press officer’s role here is to feed the machine. It’s hungry. They have time to fill and very often, particularly so close to when the event happened, everyone is more speculative than informed. The machine needs feeding whatever and the church voice can be a calm voice of authority speaking the anxieties and wishes of the local community. However, we don’t want to be rent-a-voice, we are not helpful if we seem to be trying to grandstand over someone else’s grief. We need to show the compassion and love that our faith and Christian values teach us. 

That became critically important on the second night when things turned ugly and the story was hijacked by rioting right wing mobs. Having been to the peaceful and respectful vigil on the afternoon I drove back past the scene of the stabbings on my way home. You could smell the tension in the air as people were converging on the streets exuding a purpose that did not seem like the sorrow from earlier that day. 

The media aftermath for the church was then to support the efforts showing the community rebuilding whilst also calling for harmony, standing shoulder to shoulder with representatives from all faiths. 

And on to the funerals. 

There are many patterns to organising press coverage at a funeral. Usually, we need a pen to marshal the cameras in a way that enables them to get the pictures they need whilst maintaining a respectful, sympathetic distance. It feels there is a nigh on obligatory picture of the service order, my hand featuring in many of these shots. There is a lot of standing and waiting, clarifying the minutia of the service so the reporters can tell the story and capture the atmosphere.  

Yet for me each funeral is different as I try to ensure the family’s wishes predominate. Southport was a case in point. Of the two funerals in Anglican churches (one victim was from a Roman Catholic family) one family wanted no coverage and my role was simply to make sure that wish was honoured. The other saw cameras in and around church and a full suite of reporters so we work hard with them to ensure respect. Mostly that involves a combination of setting consistent fair rules and supplying enough for them to tell the story. Journalists can cope with told they can’t do something provided their rivals are getting the same message. Lose the consistency you lose the pack as I experience outside Ken Dodd’s funeral when I had to scream at the press pack to get back in their pen before the cortege arrived.  
I see this as a ministry. I have learnt techniques over the years, witnessed fights in graveyards, stood soaking waiting for the funeral to end and the coffin to leave so I can relax. Doing this is a privilege which spills over into the funerals I conduct as a priest. As do the learnings from those funerals that, in turn, inform my ministry. Get it right it becomes a fitting, respectful and dignified way for the wider community to say goodbye to a victim. 

Then when it’s done we move on. The press pack to the next day’s story myself to the tasks from the routine job that I had to ditch. That’s easier for us. But the families and loved ones can’t easily move on from their pain and grief. 

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