Following back to back sell-out shows at MIFF 2018, Hear My Eyes collaborates with Arts Centre Melbourne for the first time to present a live score reinterpretation of No Country for Old Men written and performed by Tropical Fuck Storm.

 

Arts Centre Melbourne & Hear My Eyes Present
No Country for Old Men + Live Score by Tropical Fuck Storm

MON 19 November, 7.30pm | Playhouse, Arts Centre
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  TUES 20 November, 7.30pm | Playhouse, Arts Centre
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WED 21 November, 7.30pm | Playhouse, Arts Centre
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Thur 22 November, 7.30PM | Playhouse, Arts Centre
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No Country for Old Men co-stars Javier Bardem, Tommy Lee Jones, Josh Brolin, Kelly Macdonald and Woody Harrelson as worn individuals living in 1980’s West Texas. Their lives intertwine by chance, but are bound together by the cancerous effects of one man, the merciless killer Anton Chigurh - a prophet of destruction, a monster for the ages.

Joel and Ethan Coen’s faithful adaptation of Cormac McCarthy’s 2005 novel is a violent, poetic and intensely gripping reimagining of the book which explores the darker side of humanity through philosophical meditations on determinism, absence of free will and Nietzschean nihilism.

Experience the Coen brothers' Texas noir thriller No Country for Old Men paired with the riotous, mad art-punk-psych-experimental-rock sounds from Gareth Liddiard, Fiona Kitschin, Lauren Hammel and Erica Dunn in Tropical Fuck Storm.

TICKETS SELLING NOW

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Tropical Fuck Storm are already one of the most exciting Australian acts around, and ‘Chameleon Paint’ is already one of the songs of the goddamn year. It’s almost good enough to make you forget we’re a few weeks away from getting annihilated by a swollen orange fascist with his stumpy little fingers on the nuclear button. Almost.
— The Brag
Here there is no escape. We are in it for the long haul, running alongside its imperilled hero and skirting on the rim of absolute evil.
— The Guardian
The Coens squeeze us without mercy in a vice of tension and suspense, but only to force us to look into an abyss of our own making.
— Rolling Stone