Éditorial
No Country for Old Men is the twelfth film by the Coen brothers. The film having had immense worldwide success, it constitutes in our opinion the most accomplished study of hatred in cinema. Anton Chigurh, in his total opacity, his perpetual hatred, is the terrifying manifestation of absolute Evil....
Enregistré dans:
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| Format: | Article ou chapitre numérique |
| Langue: | Français |
| Publié: |
2025
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| Accès en ligne: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Résumé: | No Country for Old Men is the twelfth film by the Coen brothers. The film having had immense worldwide success, it constitutes in our opinion the most accomplished study of hatred in cinema. Anton Chigurh, in his total opacity, his perpetual hatred, is the terrifying manifestation of absolute Evil. Why are all of Chigurh’s relationships, without exception, infested by violence? Where does this quiet passion for death come from? Could his total lack of empathy toward and against everyone be the heart of the plot? In the game of heads or tails that he plays with two of his victims to decide whether or not he will let them live, Chigurh, with Nietzsche, proclaims the death of God. Call it. Call it! It is by comparing Chigurh to Iago in Othello that we will attempt to answer these questions. |
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