This conversation features Maia Ipp, a contributing editor at Jewish Currents focusing on memory and heritage, and Menachem Kaiser, author of Plunder, delving into the complexities of inherited trauma. They explore the film 'A Real Pain,' discussing its portrayal of generational struggles with Holocaust memory. Key themes include the emotional weight of visiting memorials, the commercialization of Holocaust narratives, and how humor intersects with Jewish identity. The dialogue invites deeper engagement with history while celebrating cultural richness in Poland.
The film 'A Real Pain' blends personal narrative with broader Holocaust memory, reflecting millennial anxieties without directly tying them to survivor experiences.
Critics highlight the film's missed opportunities in exploring deeper Holocaust themes, particularly through its minimal engagement with Polish perspectives on Jewish history.
Deep dives
Exploring Holocaust Heritage Tourism
The film 'A Real Pain' follows two cousins as they embark on a heritage tour of Poland, driven by their grandmother's legacy. This journey provides a lens into Jewish heritage tourism, blending the personal stories of the characters with the broader context of Holocaust memory. While on their trip, they travel with a diverse group, including a Rwandan man who survived genocide, which adds complexity to their collective experience. The interactions during the tour highlight the challenges of connecting with cultural history amidst contemporary realities.
Film Critique and Emotional Depth
Critics express mixed feelings about the film's execution, noting that it often falls short in narrative effectiveness and emotional engagement. The characters struggle to convey their feelings effectively, with some moments drawing attention to their mental health, yet lacking depth regarding their connection to the Holocaust. The film's humor and occasional absurdity provide some levity, yet it leaves viewers wanting more substantial engagement with the more serious themes. This blend of comedic and dramatic elements creates a dissonance that some found refreshing, while others viewed it as a missed opportunity for deeper storytelling.
Intergenerational Connections and Modern Perspectives
The film's approach to intergenerational trauma is notable for its reluctance to explicitly tie the cousins' struggles directly to Holocaust survivor narratives. Instead, it presents their challenges as reflective of broader millennial anxieties, setting the Holocaust backdrop more as context rather than a central theme. Such a perspective allows for a unique exploration of personal identity without overemphasizing the expected trauma narrative. However, this choice has also drawn criticism for potentially diluting the complexity and weight of Holocaust themes within the film.
Cultural Reflections and Broader Implications
The film touches upon the dynamics of contemporary Jewish identity and its relationship with Poland and the Holocaust. The representation of Polish characters is minimal until late in the film, prompting conversations about the importance of including local perspectives in narratives centered on Jewish history. This lack of engagement has been seen as a critique of the filmmakers' view of Poland, highlighting a disconnect between ancestral connections and contemporary realities. As such, the film raises questions about meaning-making around inherited trauma and the responsibilities that come with understanding one's cultural history.
A Real Pain is a film starring Jesse Eisenberg and Kieran Kulkin as two American Jewish cousins who take a trip to Poland to visit the childhood home of their grandmother. In this episode of On the Nose, editor-in-chief Arielle Angel, contributing editor Maia Ipp, and author Menachem Kaiser—all of whom are grandchildren of Holocaust survivors—dissect the movie’s depiction of millennial neuroses, its relationship to other Holocaust films, and its grappling with the question of how to make meaning out of inherited memory.
Thanks to Jesse Brenneman for producing and to Nathan Salsburg for the use of his song “VIII (All That Were Calculated Have Passed).”
Texts Mentioned and Further Resources:
“Selling the Holocaust,” Arielle Angel, Menachem Kaiser, and Maia Ipp, Jewish Currents