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A couple of years now since his directorial/screenwriting debut When You Finish Saving the World, Jesse Eisenberg comes out with his second directed and written film: A Real Pain.
The film tells the story about two Jewish cousins, David (Jesse Eisenberg) and Benji (Kieran Culkin), who travel to Poland together after the passing of their Grandma Dory, a Holocaust survivor. They decide to attend a facilitated tour by a British man named James (Will Sharpe) along with four other individuals before visiting the home Grandma Dory grew up in.
Out of the four companions on the tour, the person who stands out to me is Eloge (Kurt Egyiawan). He is a survivor of the Rwandan genocide who converted to Judaism after his escape. It frustrates me when he says, “I’m a convert, obviously,” when he introduces himself, because there are plenty of people of many racial backgrounds who aren’t only converting but are actually born into the faith too. It’s not “obvious.” However, it makes sense that he would introduce himself that way amongst a white non-Jewish tour guide and the rest of the group being white Jews.
The film then becomes a gateway into a conversation about Black-Jew solidarity.
When Eloge tells the group about he and his family’s experience with the genocide, Benji reacts wholeheartedly with his voice and body to let Eloge know that he feels his pain. It then makes sense when the two men and an older woman on the tour, Marsha (Jennifer Grey) talk about the importance of really reckoning with the past and presence of pain in the world after witnessing sites of war in Poland. In both scenes, David is visibly uncomfortable, and even names his discomfort with these conversations. Not because the pain doesn’t matter but more so because of how insignificant pain may be on a larger scale because of how everyone endures it in similar ways.
We especially see this discomfort come into play when the whole group has dinner together to share about the struggles of immigrants shifting from generation to generation. When Benji takes offense to David quoting their grandmother about how third generation immigrants live in their mother’s basement and storms off, David talks about how much he loves and hates his cousin simultaneously. How can he be part of the lineage of someone who survived through what their Grandma Dory calls “a thousand miracles” and still want to attempt to take your own life?
This is a similar instance we see in Black immigrant communities and Black communities that were born in the United States. How can you be depressed when your ancestors escaped genocide? How can you be depressed when your ancestors went through so much worse in regards to enslavement and Jim Crow?
The scene that stands out the most to me, however, is when the group visits the Old Jewish Cemetery in Prague. James and Eloge engage in a conversation about their fascination with the headstones’ architecture and history, and it makes Benji upset. Benji wants this sacred space to be treated with more respect than an average tourist site. Benji asks Eloge to consider his own family history in regards to what it’s like to be in a space with real dead bodies and calls out James for not facilitating the tour in a way that allows them to interact with fellow Polish Jews in the area. Although Kieran Culkin himself isn’t Jewish — and Jesse Eisenberg is — what his character talks about resonates.
In response to Benji’s feedback, James offers a moment of silence and allows group members to pick up stones to place on one of the headstones as a reminder that they were there to remember, a common Jewish practice when visiting gravesites. This inspires David to convince Benji to allow the two of them to place a stone at Grandma Dory’s house in the climax of the film. Even though her body isn’t buried there, it’s to let her spirit know that they remember her.
In most cemeteries of enslaved Black people or Black people who served in the Civil War or any historical site of Black people who have died, there isn’t enough signage or attentive tour guides to remind visitors to treat those sites with respect and reverence. It’s also important to note how often Black and Jewish cemeteries get destroyed or vandalized by racists and antisemites. A film such as A Real Pain can encourage conversations amongst Black folks and Jewish folks about honoring our cultural death sites and how to facilitate intentional pilgrimages to those cultural death sites.
Clearly, although the film mostly centers Benji and David’s relationship as cousins, the film does a great job in addressing the external and internal ways pain affects all of us. I also appreciate Eisenberg being intentional and realistic enough in including a character such as Eloge so that the conversations about Black-Jew solidarity doesn’t stop. Black people are capable of antisemitism, Jews are capable of Black racism, both groups need to do a better job in recognizing how Blackness and Jewishness are not mutually exclusive to a great deal of people. A Real Pain is a great first step in those contemporary conversations.
The post How Jesse Eisenberg’s ‘A Real Pain’ Can Present a Conversation about Black-Jew Solidarity appeared first on Black Girl Nerds.
A couple of years now since his directorial/screenwriting debut When You Finish Saving the World, Jesse Eisenberg comes out with his second directed and written film: A Real Pain.
The film tells the story about two Jewish cousins, David (Jesse Eisenberg) and Benji (Kieran Culkin), who travel to Poland together after the passing of their Grandma Dory, a Holocaust survivor. They decide to attend a facilitated tour by a British man named James (Will Sharpe) along with four other individuals before visiting the home Grandma Dory grew up in.
Out of the four companions on the tour, the person who stands out to me is Eloge (Kurt Egyiawan). He is a survivor of the Rwandan genocide who converted to Judaism after his escape. It frustrates me when he says, “I’m a convert, obviously,” when he introduces himself, because there are plenty of people of many racial backgrounds who aren’t only converting but are actually born into the faith too. It’s not “obvious.” However, it makes sense that he would introduce himself that way amongst a white non-Jewish tour guide and the rest of the group being white Jews.
The film then becomes a gateway into a conversation about Black-Jew solidarity.
When Eloge tells the group about he and his family’s experience with the genocide, Benji reacts wholeheartedly with his voice and body to let Eloge know that he feels his pain. It then makes sense when the two men and an older woman on the tour, Marsha (Jennifer Grey) talk about the importance of really reckoning with the past and presence of pain in the world after witnessing sites of war in Poland. In both scenes, David is visibly uncomfortable, and even names his discomfort with these conversations. Not because the pain doesn’t matter but more so because of how insignificant pain may be on a larger scale because of how everyone endures it in similar ways.
We especially see this discomfort come into play when the whole group has dinner together to share about the struggles of immigrants shifting from generation to generation. When Benji takes offense to David quoting their grandmother about how third generation immigrants live in their mother’s basement and storms off, David talks about how much he loves and hates his cousin simultaneously. How can he be part of the lineage of someone who survived through what their Grandma Dory calls “a thousand miracles” and still want to attempt to take your own life?
This is a similar instance we see in Black immigrant communities and Black communities that were born in the United States. How can you be depressed when your ancestors escaped genocide? How can you be depressed when your ancestors went through so much worse in regards to enslavement and Jim Crow?
The scene that stands out the most to me, however, is when the group visits the Old Jewish Cemetery in Prague. James and Eloge engage in a conversation about their fascination with the headstones’ architecture and history, and it makes Benji upset. Benji wants this sacred space to be treated with more respect than an average tourist site. Benji asks Eloge to consider his own family history in regards to what it’s like to be in a space with real dead bodies and calls out James for not facilitating the tour in a way that allows them to interact with fellow Polish Jews in the area. Although Kieran Culkin himself isn’t Jewish — and Jesse Eisenberg is — what his character talks about resonates.
In response to Benji’s feedback, James offers a moment of silence and allows group members to pick up stones to place on one of the headstones as a reminder that they were there to remember, a common Jewish practice when visiting gravesites. This inspires David to convince Benji to allow the two of them to place a stone at Grandma Dory’s house in the climax of the film. Even though her body isn’t buried there, it’s to let her spirit know that they remember her.
In most cemeteries of enslaved Black people or Black people who served in the Civil War or any historical site of Black people who have died, there isn’t enough signage or attentive tour guides to remind visitors to treat those sites with respect and reverence. It’s also important to note how often Black and Jewish cemeteries get destroyed or vandalized by racists and antisemites. A film such as A Real Pain can encourage conversations amongst Black folks and Jewish folks about honoring our cultural death sites and how to facilitate intentional pilgrimages to those cultural death sites.
Clearly, although the film mostly centers Benji and David’s relationship as cousins, the film does a great job in addressing the external and internal ways pain affects all of us. I also appreciate Eisenberg being intentional and realistic enough in including a character such as Eloge so that the conversations about Black-Jew solidarity doesn’t stop. Black people are capable of antisemitism, Jews are capable of Black racism, both groups need to do a better job in recognizing how Blackness and Jewishness are not mutually exclusive to a great deal of people. A Real Pain is a great first step in those contemporary conversations.
The post How Jesse Eisenberg’s ‘A Real Pain’ Can Present a Conversation about Black-Jew Solidarity appeared first on Black Girl Nerds.
This year was a wild ride at the movies. From epic blockbusters to small indie wonders, this year reminded us why we love to go to the theater. Let’s start with the films that left us cheering, sobbing, and had us going back to the theaters for repeat viewings. These films reminded us why we love getting lost in a dark theater with a bunch of strangers. We here at Black Girl Nerds are excited to share with you some of our picks of what we consider the best films of 2024 by a select group of esteemed film critics.
Jamie Broadnax’s Best of 2024
Wicked
I am not making this up when I say that Cynthia Erivo and Ariana Grande’s rendition of “Defying Gravity” lives rent-free in my head on a daily basis. I must confess, I have never seen Wicked the musical, so I came into this experience as a newbie. Wicked delivered on all fronts: stunning visuals, gut-punch storytelling, and performances so good that I will riot if both Erivo and Grande respectively are not nominated for Oscars. Ariana Grande as Glinda and Cynthia Erivo as Elphaba took audiences to Oz like we’ve never seen it before. And let’s not forget Jeff Goldblum as the Wizard, whose charm was the cherry on top of this emerald sundae. Wicked wasn’t just a movie, it was an event. If this is what Part One gave us, I can’t wait to see how the story concludes in Wicked: For Good.
Flow
Some of the best films are movies that sit with you. A movie that just marinates and simmers long after you’ve experienced it. That’s the case with Gints Zilbalodis’ animated feature film Flow. Composed of no dialogue, just organic sounds of nature and animal-speak, it’s a story about a cat whose home is devastated by a great flood. He finds refuge on a boat populated by various species, and will have to team up with them despite their differences. With its fluid animation, haunting score, and Zilbalodis’ signature knack for blending serenity with tension, Flow is as much a meditation as it is a movie. It really is the kind of flick that stays with you, not because of flashy effects or fast-paced action, but because it speaks to something deeper. Perhaps because I’m a cat-person and love animals, but I will add it is a deeply universal story that anyone (whether you like cats or not) will appreciate.
Sing Sing
Speaking of films with deeply resonating storylines, Sing Sing was profoundly one of the best films I’ve seen this decade. This gripping drama, based on the real-life work of the Rehabilitation Through the Arts program, took us inside the walls of a maximum-security prison to tell a story about redemption, creativity, and brotherhood. The ensemble cast, featuring real-life formerly incarcerated actors alongside seasoned professionals, delivered performances so authentic they blurred the line between acting and reality. The film’s raw emotion, coupled with its unflinching honesty, made it impossible to look away. Standout performances by Colman Domingo and Clarence Maclin will literally bring tears to your eyes and feel so many emotions. It’s not surprising that both actors are in the awards conversation. Do yourself a favor and see this movie. It’s an incredible piece of work.
Chalice Williams’ Best of 2024
Dune: Part Two
Watching a movie with a captivating plot and intriguing characters is one thing, but when those things are set to an intense score and mesmerizing cinematography, that is peak cinema. Dune: Part Two is more than a movie, it was an experience to see play out on the big screen. Timotheé Chalamet and Zendaya reprising their roles and diving deeper into their character arcs made for a great film from beginning to end. Seeing Paul Atreidis transform into a leader of his people was worth the slow pacing we endured for the first film. It all culminated in the sequel, and boy, it was worth the wait. Not only was the film a masterpiece, but it effortlessly set up what is to come between the love triangle that is Chalamet, Zendaya, and Florence Pugh’s characters for the third installment.
Deadpool & Wolverine
Deadpool & Wolverine allowed us comic book nerds to release a ton of pinned-up excitement. We’ve waited for YEARS for these two to team up, and the closest we got was X-Men Origins: Wolverine, which was a disappointment. Ryan Reynolds and Hugh Jackman gave us that feeling we felt when we saw Avengers: End Game, with many special appearances from characters, with Wesley Snipes being the highlight. While most of what we saw strayed away from comic book accuracy and the MCU timeline, it didn’t matter, because it was simply a film for the fans. Kevin Feige gave the people what they wanted, and it was a box office smash. It would be no surprise if we got to see these two side by side again, but even if we don’t, what they created with Deadpool & Wolverine most likely can never be replicated. I mean, the opening sequence alone was truly iconic.
The Wild Robot
Lupita Nyong’o as a robot that gets stranded on an island and befriends a group of animals may sound like a wild concept, but someone saw the vision. With its heartwarming underlying messages of parenting and fitting in, The Wild Robot was a beautiful film that truly deserved to be recognized more. Animated films don’t solely have to appeal to kiddos, after all this one in particular hit harder for me as an adult since I understood more of the undertones. Nyong’o’s warmth truly added to Roz’s motherly feel and humanized the robot for us to relate to. The book series has been popular for some time, so seeing it come to life on screen was a treat, especially since it was done so well. It would be no surprise to see The Wild Robot take home
Jeanine T Abraham’s Best of 2024
Wicked
Wicked is an enchanting, hilarious, and inspiring film that exceeds expectations and profoundly touches the heart. I inadvertently saw a 3D pre-screening and was blown away. Directed by Jon M. Chu, this adaptation of the smash-hit Broadway musical, based on Gregory Maguire’s novel, brings to life the fantastical land of Oz in a way that feels fresh and vibrant while staying true to the essence of the beloved stage production. From the moment the opening notes of Stephen Schwartz’s iconic score fill the theater, it’s clear that this Wicked is more than just a visual feast — it’s an emotional journey. The chemistry between the two leads, Elphaba and Glinda, is electric, with Cynthia Erivo’s powerhouse performance as Elphaba and Ariana Grande’s playful yet poignant portrayal of Glinda. Erivo brings depth, vulnerability, and power to Elphaba. She captures the character’s complexity with grounded precision. Casting a Black woman as Elphaba gives the story rich texture and nuance, making this film perfect for our times. Grande delivers a charming yet heartfelt take on Glinda, effortlessly balancing comedy with moments of raw emotion.
I’m not a musical theater fan, but Erivo and Grande singing Defying Gravity was a moment that left me breathless. The production design is breathtaking, with majestic visuals and vibrant colors. The makeup and hair departments are incredible, and the costumes are stunning. Jeff Goldblum shines as the Wizard, bringing charm and darkness. New songs and structural tweaks make the film feel familiar and excitingly new. Whether you’re a lifelong fan or discovering the world of Oz, this film is an experience you won’t want to miss. This film is a must-see experience for both longtime fans and newcomers to the world of Oz. I loved it so much I’ve seen it twice.
Village Keeper
Village Keeper is a triumphant first dramatic feature by Karen Chapman with a unique take on a familiar story that leaves the audience hopeful. The film takes place in a subsidized housing complex in Toronto. It follows Jean (Olunike Adeliyi), a grieving widow and single mother trying to keep her two teenage children safe in a hostile environment. Jean and her children have moved in with Grandma (Maxine Simpson), Jean’s mother, to make ends meet, and the family discovers that they can survive and thrive beyond their temporary physical circumstances. I loved Village Keeper because it goes beyond the tropes of Black people living in challenging communities and reveals a journey of discovery to wellness and self-care. The film also reflects the challenges of a Black mother sandwiched between caring for her mother and her children while attempting to protect everyone. Jean is working her fingers to the bone in several low-paying jobs while trying to support her aging mother and giving her mother autonomy as she ages. Jean’s kids are at an age where they still need her guidance but must explore finding themselves and expressing their freedom as young people.
Village Keeper goes beyond the strong Black woman trope and reveals the cracks created by the multifaceted levels of trauma Black women in these kinds of communities endure. Instead of exposing the audience to violent trauma, Chapman’s spectacular screenplay shows the impact of the trauma and the work it takes to process and heal trauma. Village Keeper is touching, funny, and inspiring. Chapman’s story goes beyond the trauma and reveals the power of finding multiple levels of support and community care needed to connect to joy, regardless of financial or community circumstances. Village Keeper is a film I will hold in my heart to remember the power of love, healing, and community.
Hard Truths
British filmmaker Mike Leigh’s Hard Truths is a nuanced exploration of a Black British family that is universally relatable. Set in contemporary Britain, the film navigates the lives of ordinary people caught up in personal and societal conflict. Leigh masterfully utilizes his trademark improvisation method with his actors, allowing their characters to evolve organically through workshops and rehearsal. This technique inspires authentic performances that feel spontaneous and believable, and every ensemble member shines. Marianne Jean Baptiste’s (Secrets and Lies) standout performance as Pansy is extraordinary. Pansy is a middle-aged woman caught in the turbulent intersection of her regrets and the shifting dynamics of her family and career. This performance showcases Jean Baptiste’s range, subtlety, and emotional depth. Jean Baptiste’s presence is magnificent in a film that demands the portrayal of layered, complex characters.
The film’s pacing is intentional but never feels slow. Each scene builds upon the last, slowly peeling away layers to reveal the raw emotions beneath. Hard Truths is a testament to Leigh’s unparalleled ability to probe beneath the surface of everyday lives, revealing the hidden forces that shape our actions, choices, and relationships. The film’s subtle music allows the performances and dialogue to take center stage. When music does appear, it’s there for a reason, effectively underscoring the scene’s emotional weight, which adds to the film’s atmosphere. Hard Truths explores moral ambiguity as the characters grapple with their contradictions, desires, and the painful realities they face. Each of them is flawed and searching for meaning in a world that doesn’t care about their struggles. The dialogue is witty and sharp and brings these characters to life in a relatable and heartbreaking way. Hard Truths is a film about our choices, the lies we tell ourselves, and the painful, often complicated process of confronting what is true. Hard Truths made me laugh, challenged me, and made me think about this family long after the credits rolled.
Cassondra Feltus’ Best of 2024
Heretic
We can always count on A24 to deliver, especially when it comes to psychological horror. Written and directed by Scott Beck and Bryan Woods (The Boogeyman), Heretic follows Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East), two Mormon missionaries looking to convert people to the Church of Jesus Christ of Latter-day Saints. When they first meet Mr. Reed (Hugh Grant), he’s a seemingly friendly, reclusive man who’s a welcoming host genuinely interested in their religion. But as the Sisters talk to him, there’s obviously something off about him. Grant perfectly portrays the unsettling yet charismatic character, proving he should really be in more horror and thriller movies. Religious horror films tend to explore Catholicism, particularly the same old exorcism story. However, Heretic, with its exceptional cinematography, set design, music, and performances, is a uniquely eerie film that thankfully doesn’t rely on demons and heroic priests (or jumpscares).
Nosferatu
As a big fan of Robert Eggers (The Northman), as well as the original Nosferatu from 1922, this was one of my most anticipated films of the year. And I was not disappointed. This take on the monstrous vampire has all of Eggers’ hallmarks, including an incredible ensemble cast. Lily-Rose Depp’s previous work hasn’t been my cup of tea but her performance as Ellen Hutter is beyond impressive. Bill Skarsgård steps into another scary creature role as Count Orlok. He mostly exists in the shadows, making the times when we actually see him extra creepy. While some visual choices didn’t really work for me (like the bizarre handlebar mustache), I never doubt Skarsgård’s ability to play a deeply unsettling character. The constant dread is palpable throughout the film, made all the more frightening with the wintry landscape.
Deadpool & Wolverine
This majorly hyped-up film was easily one of the best theater-going experiences I’ve had in a long time. While it’s not without flaws, Deadpool & Wolverine met, and in some instances, exceeded my expectations. The return of Hugh Jackman as Wolverine was more than exciting (and in the yellow suit, no less!). Of course, I love Ryan Reynolds and his consistently hilarious portrayal of Deadpool as well; the opening fight sequence set to NSYNC’s “Bye Bye Bye” became an instant favorite. I managed to avoid most spoilers and surprise cameos, so when a certain hero walked out in all his glory, I literally gasped.
Catalina Combs’ Best of 2024
Gladiator II
I am a massive fan of Gladiator (2000), so when rumblings of a Gladiator II came along, I was intrigued. When the cast was announced with Denzel Washington, Pedro Pascal, and Connie Nielsen, the excitement was beyond words. People may talk about how Denzel was using his Denzel voice, how the film was rushed or whatever, but were you not entertained? This film had my eyes glued to the action. The gladiator fights, the arena battles, the psychotic emperors were all fun to watch. The plot may have been lacking, but when’s the last time you went to a film and just for the pure entertainment and joy of it? This film didn’t have an agenda, it was a fun, bloody, action movie. I laughed, I jumped from body splatters, and it was awesome. The cinematography was great. It gave the same aesthetic as the first Gladiator. Ridley Scott has his moments these days, and this was one of them. Just a fun ride that I can’t wait to add to my DVD collection.
That Christmas
I love a good Christmas movie. The creators of Love Actually made one of the cutest, feel good, animated films of the year. Currently, streaming on Netflix, this film stars the voice talents of numerous talents including Bill Nighy, Brian Cox, and Fiona Shaw. The film is a joyful holiday film that highlights diverse types of people, family dynamics, and relationships. It carried the emotional themes and Christmas cheer that Love Actually emotes with a childlike innocence, reminding us of what’s really important during the holidays. The animation is fun. It brings out the nostalgia and innocence of Christmas. Such a beautiful film for kids and grownups alike.
Exhibiting Forgiveness
This film is such a powerful display of forgiveness and family relationships. The cast is everything with Andra Day, André Holland, and Aunjanue Ellis-Taylor. Amazing acting and cast chemistry. They story of reconciliation and forgiveness is powerful. I wish more people paid attention to this film for award season. It is brilliantly acted, beautifully shot, and an overall emotional and strong film. Everything about this film screams Oscar-worthy, but the release and marketing wasn’t the biggest. I hope more people get a chance to see this film because it is truly magnificent in every aspect.
So, here’s to the filmmakers who dared to dream big, the actors who brought those dreams to life, and the audiences who showed up ready to be swept away. If 2024 taught us anything, it’s that cinema is still very much alive and thriving, and we can’t wait to see what’s next.
Stay tuned for our Worst Films of 2024 list!
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