In the newest Coen Brothers’ film, A Serious Man, the writing and directing duo draw from personal experience to create an interesting story about a middle-aged Jewish man whose life is falling apart before his eyes. The film is set in Ethan and Joel Coen’s home state, Minnesota, specifically in a suburb where religion plays a significant part in everyday life. In his first lead role, Michael Stuhlbarg is brilliant as Larry Gopnik, and is supported by a wonderful cast including Fred Melamed, Sari Lennick and the wonderfully pathetic Richard Kind.

Before Larry’s problematic life unfolds before the viewers’ eyes, the film begins in a flashback in a small Eastern European village. A brief dialogue between a husband and wife in Yiddish explains to the audience that the husband met a stranger on his walk home from market – a man that the wife claims has been dead for three years. The husband explains that he has invited the man over for hot soup and relief from the cold snowstorm outside and his wife panics about the consequences of his actions. She declares that they have encountered a “dybbuk,” a malicious spirit in Jewish folklore that has cursed their family. Quickly after the man enters the couples’ home, the wife swiftly takes action, expressing her suspicions to the perceived demon and stabbing him in the chest.

Cut to 1967: Larry (Stuhlbarg) is a physics professor, waiting anxiously for the board’s decision regarding his application for tenure. In his professional life, Larry is being bribed and threatened by a Korean student who is upset with his failing grades.

Additionally, his wife, two children and brother crowd his modest cookie cutter house, as he struggles to meet their ever-growing demands.

Danny, the youngest in the family, is a stoner who listens to Jefferson Airplane instead of paying attention during his Hebrew class. Preparing for his bar mitzvah, he memorizes his Torah portion off of a record in between his endless TV shows. Sarah, Larry’s daughter, is always rushing to go out with her friends, and is completely self-involved. Larry’s brother Arthur oscillates between the couch, where he sleeps, and the bathroom, where he spends most of his waking hours. And finally, there is Judith, Larry’s wife, who has begun an emotional affair with family friend Sy Ableman, and is now seeking both a divorce in court and in the faith.

Forced to move into the Jolly Roger, a decrepit motel, due to his impending separation, apprehensive about receiving tenure and struggling under the weight of looming financial debt, Larry is unable to take control of his life.

It is in these dire circumstances that Larry’s peers suggest repeatedly that he seek the advice of a rabbi, an individual that can draw upon the cumulative experience of the Jewish people. With this recommendation, Larry begins his quest for spiritual guidance and counsel.

The movie continues on to document the shortcomings of Larry’s religious direction. First, he meets with the Junior Rabbi, who is believes that god’s good will can be viewed in every part of reality. Next, Larry meets with Rabbi Nachter, whose seemingly enlightened stories yield no tangible conclusions that the protagonist can draw upon. And finally, there is the decrepit Rabbi Marashak, who is too busy with his inner thoughts to be bothered with Larry’s crises. The failure of his religious endeavor is one that many viewers will easily sympathize with.

Overall, Larry’s quest for divine advice comes up short. As his world continues to crumble around him, Larry still clings to his faith as a source of stability and identity. It is unclear whether Larry’s life is miserable because he is haunted by his own “dybbuk,” a demonic spirit haunting every part of his existence, or if he must take control like the eastern European wife and stab his life into submission.

The hopelessness of Larry’s situation is a magnificent example of the Coen Brothers’ ability to tap into pertinent human emotion. Members of the Jewish faith are often struck with the need to find answers, asking, “What is it that God is trying to tell me?” And, like Larry finds, most of these questions go unanswered as we continue to move through our lives.

The struggles of Larry Gopnik are both comedic and depressing, creating the dark humor that Coen Brothers’ fans have come to expect. This film will restore faith in moviegoers that were disheartened by Burn After Reading, as it embodies aspects of the writers’ better films: The Big Lebowski and No Country for Old Men.

So, if you enjoy late ’60s swag, countless references to Jewish culture, and a good dose of Jefferson Airplane, definitely check out the Coen Brothers’ newest dark comedy: it is sure to entertain.