This chapter continues my concerns with recent cinematic treatments of the borderlands by focusing on Joel and Ethan Coen's No Country for Old Men (2007). The film is adapted from Pulitzer Prize winning author Cormac McCarthy's 2005 novel of the same title. The book engages with McCarthy's long-standing metaphysical concerns, presenting a meditation on mortality as a terrifying contest between an ageing West Texas sheriff and an implacable killer. The Coen's No Country successfully adapts such concerns to the cinema and has achieved a good deal of both critical and commercial acclaim, garnering, among numerous other prizes, four 2008 Academy Awards, including one for Best Motion Picture and another for Best Achievement in Directing. In this regard, a Hollywood Western has not been so successful since Unforgiven, which similarly won multiple Oscars back in 1993. Like Three Burials and Lone Star before it, No Country reminds us that the cinema has depicted the United States–Mexico border as a real place and a set of myths associated with that place – a mythic terrain, adjunct to the myth of the West. The borderlands are therefore a term of both geographical and ideological reference for many Americans, including historians, political figures and producers of popular culture. As such, I develop the previous chapter's concern with the concept of national identity in specific relation to the Western genre.