voicing his circumspect feelings about the interview by suggesting he’d like to write a profile on the people who have attempted to profile him. But gradually, over diner meals and shared pop tarts, junk food binges and long freeway drives, a semblance of trust, respect and even affection develops. That is until Lipsky crosses a line and Wallace withdraws, adding bittersweet notes to their final day together.

The body language of the two leads could hardly be more of a contrast. Eisenberg is small and wiry, febrile in his intensity and always observing. He makes Lipsky both worshipful and slightly predatory, but he never loses the audience’s sympathy; his character clearly believes that a genuine relationship has been formed and, for as long as possible, he resists the urginga highlight of Sundance 2003, and The End of the Tour seems likely to be among the best of this year’s crop. Ponsoldt is a known quantity at this point, but his latest film — picked up for U.S. distribution by A24 on the day of its premiere — is a significant step forward, its rewards amplified by its emotional restraint.

Production companies: Anonymous Content Productions, in association with Modern Man Films

Cast: Jesse Eisenberg, Jason Segel, Anna Chlumsky, Mamie Gummer, Mickey Sumner, Joan Cusack, Ron Livingston, Becky Ann Baker

Director: James Ponsoldt

Screenwriter: Donald Margulies, based on David Lipsky’s book, ‘Although of Course You End Up Becoming Yourself: A Road Trip with David Foster Wallace’

Producers: David Kanter, Matt DeRoss, James Dahl, Mark Manuel, Ted O’Neal

Executive producers: Paul Green, Donald Margulies, Ann