| Photos (See all 20 | slideshow) | Videos (see all 8) |
| Shlomo Bar-Aba | ... | Eliezer Shkolnik (as Shlomo Bar Aba) | |
| Lior Ashkenazi | ... | Uriel Shkolnik | |
| Aliza Rosen | ... | Yehudit (as Alisa Rosen) | |
| Alma Zack | ... | Dikla Shkolnik | |
| Micah Lewensohn | ... | Grossman | |
| Nevo Kimchi | ... | Fingeroot | |
| Yuval Scharf | ... | Noa | |
| Daniel Markovich | ... | Josh | |
| Tsipi Gal | ... | Mystery Woman | |
| Michael Koresh | ... | Yona Solomon, Committee Member | |
| Idit Teperson | ... | Sara Foddor, Committee Member | |
| Shmuel Shiloh | ... | Herman, Committee Member (as Shmulik Shilo) | |
| Albert Iluz | ... | Dvir Oded, Committee Member (as Albert Illouz) | |
| Gad Kaynar | ... | Committee Member | |
| Jackey Levi | ... | TV Host (as Jacky Levy) | |
| Hanna Hacohen | ... | Israel Prize Producer | |
| Itay Polishuk | ... | Security Guard | |
| rest of cast listed alphabetically: | |||
| Edna Blilious | ... | Costume Designer Lady | |
| Dan Caner | ... | Narrator | |
| Natalia Faust | ... | Nurse | |
| Dana Glozman | ... | Silit | |
| Daria Robichek | ... | Devora | |
| Dali Shachnaey | ... | Young Uriel | |
| Jonnie Shualy | ... | Soundman | |
| Neli Tagar | ... | Security Guard | |
| Nina Traub | ... | Yonat | |
Directed by | |||
| Joseph Cedar | |||
Writing credits(in alphabetical order) | ||
| Joseph Cedar | written by | |
Produced by | |||
| Leon Edery | .... | producer | |
| Moshe Edery | .... | producer | |
| Michal Graidy | .... | executive producer: MoviePlus | |
| Tamir Kfir | .... | line producer | |
| David Mandil | .... | producer | |
| Joseph Cedar | .... | producer (uncredited) | |
Original Music by | |||
| Amit Poznansky | |||
Cinematography by | |||
| Yaron Scharf | (director of photography) | ||
Film Editing by | |||
| Einat Glaser-Zarhin | (as Einat Glaser Zarhin) | ||
Casting by | |||
| Hila Yuval | |||
Production Design by | |||
| Arad Sawat | |||
Costume Design by | |||
| Laura Sheim | |||
Makeup Department | |||
| Ronit Arviv | .... | makeup artist (as Ronit Dugo Arviv) | |
Production Management | |||
| Amit Gilboa | .... | post-production manager | |
| Assaf Gordon | .... | production manager | |
| Lee Shira | .... | post-production supervisor | |
Second Unit Director or Assistant Director | |||
| Mandel Itai | .... | second assistant director | |
| Shir Shoshani | .... | first assistant director | |
Sound Department | |||
| Tuli Chen | .... | sound mixer (as Tully Chen) | |
| Alex Claude | .... | sound designer | |
| Israel David | .... | sound re-recording mixer | |
| Daniel Meir | .... | sound effects editor | |
| John Purcell | .... | dialogue editor | |
| Gadi Raz | .... | sound effects editor | |
| Wilmont Schulze | .... | foley artist | |
| Bar On Shelly | .... | assistant re-recording mixer | |
| Sebastian Stroux | .... | foley mixer | |
Visual Effects by | |||
| Roy Alter | .... | title designer | |
| Roy Alter | .... | visual effects artist | |
| Ilan Weintrob | .... | visual effects supervisor | |
| Michal Wolff | .... | visual effects director | |
Camera and Electrical Department | |||
| Shimon Belfer | .... | rigging gaffer | |
| Shuki Paz | .... | gaffer | |
| Ruby Rubinstein | .... | assistant camera | |
Costume and Wardrobe Department | |||
| Laura Sheim | .... | key costumer | |
Editorial Department | |||
| Szabolcs Barta | .... | colorist | |
| Tibor Csige | .... | post-production coordinator | |
| László Kovács | .... | telecine colorist: dailies | |
Music Department | |||
| Itamar Argov | .... | music preparation | |
| Alex Claude | .... | musical director | |
| Israel David | .... | music score recordist | |
| Stefan Karrer | .... | soundtrack album producer | |
| Amit Poznansky | .... | orchestrator | |
| Doron Salomon | .... | conductor | |
| Lionel Ziblat | .... | orchestrator | |
Other crew | |||
| Grace Benoish | .... | script supervisor | |
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| Campfire | Dark Matter | Charlie Wilson's War | Appaloosa | The Prince of Egypt |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Comedy section | IMDb Israel section |
Greetings again from the darkness. In the United States, we typically get limited access to the films of Israel. In recent years, there have been two that I like very much: The Band's Visit, and Waltz for Bashir. Written and directed by Joseph Cedar, Footnote was nominated for the Best Foreign Language Academy Award. It's a very creative and insightful story utilizing slight comedic elements to show the destructive forces of petty professional jealousy within a family.
Most parents wish for true happiness for their children. If the professional success of their offspring far exceeds their own ... it is a reason to swell with parental pride. But what happens when father and son choose similar paths? What happens when animosity builds as the father's life work (30 years of research) is deemed unnecessary and irrelevant? What happens when the son becomes publicly revered and adored for his populist writing? Well, in the case of father Eliezer (Shlomo Bar-Aba) and son Uriel (Lior Ashkenazi), we get strained relations and a thesis on the pitfalls of pride and ego.
All of that is sufficiently fascinating for a story, but here we get an even more severe test of human nature. The father is erroneously informed that he has won the prestigious Israel Award, providing vindication and meaning to his work and well, his being. See, the award was supposed to go to the other Professor Shkolnik ... yes, his son. This much is shown in the trailer, but the true guts of this story is what happens after this mistake.
There are a few tremendous scenes in the film, but two really jumped out for me. In an early scene, the son is receiving yet another reward and he is attempting to provide some credit for his father's inspiration. However, the words seem to add credence to the irrelevancy instead. The best part? The camera never leaves the face of the father and he sits quietly listening in immeasurable pain. The other scene takes place in a beyond cramped meeting room for the Award committee to discuss the mistake with Uriel. The manner it is filmed and the choreography more than make up for the fact that the group of brilliant people never thought to find a more suitable meeting place.
The score of the film is one that I would appreciate more without having the film playing. The music is wonderful, but often distracting to the moment. It is interesting to note how it changes along with the posture and walking pace of Eliezer after he is informed of his award. One need not be an academic researcher or writer to understand the damaged relationship between father and son ... and how it has impacted wives, mothers and sons. That's a story that is painful in any language.