So a question put before the congregation by “A Serious Man” is whether it makes the case for atheism or looks at the world from a divine point of view. Are the Coens mocking God, playing God or taking his side in a rigged cosmic game? What’s the difference?

The philosophical conundrums in “A Serious Man” can be posed only in jest — or, at least, in the cultural tradition of Ashkenazic Judaism that stretches from the shtetls of Poland to the comedy clubs of the Catskills, that is how they tend to be posed. But a deep anxiety lurks beneath the jokes, and though “A Serious Man” is written and structured like a farce, it is shot (by Roger Deakins), scored (by Carter Burwell) and edited (by the Coens’ pseudonymous golem Roderick Jaynes) like a horror movie.