In the first scene of Israel's Best Foreign Language Oscar nominee, Footnote, Uriel Shkolnik (Lior Ashkenazi) — a fortysomething Talmudic scholar whose research has earned adulation while his sixtysomething father's has mostly been ignored—accepts an honor with an obliviously glib speech built around a childhood anecdote about his dad's attitude toward his own profession. The camera stays on the father, Eliezer (Shlomo Bar Aba), for the entirety of the speech, his facial expression subtly transitioning from discomfort to disdain. Slowly, writer-director Joseph Cedar sketches in the details of father and son's non-bond. Eliezer's old-school approach to academia is a day-in, day-out study of primary documents, while in his eyes, his celebrity academic son frivolously exploits history as fodder for cocktail parties. To another father, Uriel's success might be a source of pride; to Eliezer, it's an affront to his life's work, an embarrassment. The stage thus set, a clerical mistake begets an academic scandal that, if allowed to come to light, would have major repercussions for both of the Shkolniks, their personal relationship, and the validity of their shared profession. Something between a comedy of everyday absurdity and a family tragedy pushed into the realm of the hyper-real, Footnote uses its characters' differing relationships to authenticity as the basis for an enigmatic riff on representation. Perhaps too enigmatic: Cedar's rigorous formal achievement is above approach but emotionally distant. Like its elder main character, Footnote is something to respect and admire, but remains cold and unknowable.