Avaliações do Metacritic

Footnote is itself a perfect little piece of Talmud, full of text, commentary, and colorful argument.

Joseph Cedar's Footnote is a wry, wise little film that revels in the cataclysmic import of a life's most ostensibly trivial details.

Cedar's idiosyncratically brilliant script also has a moral question at its heart: Is lying to spare someone's feelings ever justified? Surely the Talmud has a thing or two to say about that.

A father-son academic rivalry provides fodder for this caustic comedy set in the Talmud Department of the Hebrew University of Jerusalem.

What Cedar captures here is the way a father and son can be bound so tightly they almost choke the air out of one another. You can't exactly call it affection; it's that far more complicated thing we call kinship.

The love, jealousy, and stubborn pride of the relationship between Ashkenazi and Bar-Aba is the heart of the film, and that makes the deliberately uncertain note of the ending particularly frustrating.

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.

Jewish and academically inclined audiences worldwide will respond to numerous aspects of this unusual drama, although it is paradoxically both too broad and too esoteric for the general art house public.

Footnote is a decidedly male-centric film. Structurally, the picture is divided into named chapters that make for cute markers but give it the not-entirely satisfying feel of a jaunty satire.

Joseph Cedar's Footnote is a sour, rather unpleasant affair that hinges on acts of Jews behaving badly.