The Coen brothers have gradually become a staple of filmmaking over the past several decades, having written, directed and produced acclaimed movies such as Fargo, The Big Lebowski and No Country for Old Men. A common thread among these movies is that they are markedly difficult to define in terms of genre. The duo’s latest film, A Serious Man, is no exception.

The film takes place in 1967 in St. Louis Park, Minn., which is where the Coen brothers grew up. It centers on Larry Gopnik (Michael Stuhlbarg), a physics professor who must face the complete disintegration of his life as he knows it, beginning with a divorce request from his wife, Judith (Sari Lennick), who is leaving him for another man. Larry is bewildered by his wife’s request, repeatedly stating that he “didn’t do anything.” This phrase recurs multiple times throughout the movie as, in pure existentialist fashion, none of the new problems that Larry constantly faces seem to have been the consequence of his own actions.

Along with an impending divorce, Larry also must cope with a hippie 13-year-old son, who steals money from Larry’s wallet to purchase marijuana; an older daughter who steals to save up for a nose job; a lazy brother who lives on Larry’s couch; and a physics student whose father threatens to sue Larry for defamation because of a failing grade. Problem after problem torments Larry and, upon the encouragement of a neighbor and his Jewish faith, he consults three different rabbis throughout the film’s duration, all of whom confuse Larry even more.

By far the most remarkable aspect of A Serious Man is its variety and well-crafted combination of themes. Existentialism forms the backbone of the film, with familial and religious thematic elements enhancing its plot. The theme of Judaism, in particular, is central to the film, as the majority of characters are Jewish and the appearances of the rabbis essentially divide the film into three chapters. More important, however, are the movie’s symbols, many of which are interwoven with Judaism. The allegorical nature of these recurring symbols come together beautifully by the end of the movie — the abruptness of which leaves much to interpretation.

The result is a unsettling yet engrossing tragicomedy that, much like staring at a Jackson Pollock painting, leaves the audience feeling as though they fully grasp its message without being able to articulate it. The Coen brothers were able to induce laughter, sadness, clarity, confusion, anger and pity all at the same time, a testament to their brilliance in writing and directing. The film was, in its own way, fast-paced in that new conflicts often arose within minutes of each other, yet the storyline was at no point discombobulating.

Many of the directional and stylistic choices made by the Coen brothers added a much-needed dose of reality to an otherwise absurd storyline. There are many instances, particularly during the scenes featuring the whole family, in which multiple conversations occur simultaneously. It is remarkably easy to follow all of these conversations while still giving the impression that a dysfunctional household is being documented. The rapid-fire camera shots were somewhat confusing, yet ultimately made sense in allowing the audience to see scenes (sometimes multiple scenes at once) from different perspectives.

The film’s actors shined throughout, especially with Stuhlbarg’s performance as the protagonist, a man for whom the audience immediately feels sympathy. This feeling grows throughout the progression of his tragedy; the relatability of Stuhlbarg’s character is a crucial driving force of the film, as his numerous misfortunes plague the audience seemingly as much as they do him.

Also worth mentioning are the humorous performance of Fred Melamed as Sy Ableman, Judith’s “other man,” as well as Richard Kind’s endearing portrayal of Larry’s pitiful and hopelessly inadequate brother.

A Serious Man is a movie that many will leave and instantly want to see it again. Oxymoronically, its climax produces itself in a very confusing way, á la Donnie Darko. Like all of the Coen brothers’ films, it is strikingly unique in its own right. Its interpretability causes the film to stay with you long after its end, certainly making it worth a trip to the local theater.