Brisbane Festival, in association with The Tivoli, present

THU 26 SEPTEMBER, 7.30pm | The Tivoli

It’s a big ask to try to improve the experience of a film that won the Oscar for Best Picture. But what TFS managed to do was take a film that excelled, in part, through its lack of a score and make it better by adding a score. That feels counterintuitive. That’s why it was so impressive.
— Paul Donoughue, Double J

Directed by Haydn Green from Hear My Eyes, experience the Coen brothers’ Texas noir thriller No Country for Old Men paired with the riotous, mad, psych-punk sounds from Tropical Fuck Storm (Gareth Liddiard, Fiona Kitschin, Lauren Hammel and Erica Dunn) as they perform their original score live on stage alongside the film screening.

The Academy Award-winning No Country for Old Men, starring Javier Bardem, Tommy Lee Jones, Josh Brolin, Kelly Macdonald and Woody Harrelson as worn individuals living in 1980’s West Texas, follows the merciless killer Anton Chigurh and the bloodshed that ensues.

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. It is widely regarded as the Coen brothers' best film.

Following numerous sold-out shows at the Arts Centre Melbourne in 2018, this is a visceral psych-punk explosion and match made in heaven.

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