The Wandering Character in the Coen Brothers’ Films: When the Southern Gothic Meets the Western by Julie Assouly

“…The wandering character is a regular feature in the Coen Brothers’ films. Roaming the American South and West, two regions those directors have explored on various occasions, Coenian wanderers are mysterious, ominous characters, often grotesque, most of them undoubtedly having Gothic roots. …”
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Introduction by Jennifer Johnson-Goliger, Stéphanie Noirard

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Esthétique de la trace dans No Country for Old Men (Ethan et Joel Coen, 2007) by Christophe Gelly

“…However, these traces are often illegible or refer to an undefined meaning. The Coen brothers’ film adapts this problematic, which in the novel focuses on the blurring of the interpretation of the clues through a specific iconic and sound transposition, notably through the use of close-ups and dolly shots that indicate a reading of the clues that is always doomed to failure. …”
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« Shots in mirrors » : Les jeux de miroir dans No Country For Old Men (Coen 2007) by Julie Assouly

“…Mirrors are overexploited motifs in film and literature, whose presence scarcely goes unnoticed, begging for a symbolic interpretation. The Coen brothers’ adaptation of No Country For Old Men pays tribute to the many mirrors featured in McCarthy’s novel. …”
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Du dépouillement surgit le silence : une adaptation sous couvert de minimalisme audiovisuel by Louis Daubresse

“…Taking up the cause of Cormac McCarthy’s rigorously ascetic style in No Country for Old Men, the Coen brothers’ adaptation offers several sequences where, due to the absence of words, the economy of extradiegetic music and the rarefaction of noises, the spectator finds himself confronted with a (relative) cinematographic silence in which the slightest sound, usually imperceptible, is likely to become intelligible. …”
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