Abstract
As a postmodern reinterpretation of Carson McCarthy’s late modern Western No Country for Old Men (2005) the Coen brothers’ same-titled film quickly achieved cult status. The following study presents the film in light of a major change in cultural identity. Through the lens of film psychoanalysis, the following paper investigates No Country for Old Men (USA 2007) as an expression of the epoch signature ‘Borderland’.
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