As you’ve probably heard (here) (and here) (and here also)—the Oscars were yesterday. So, in the second installment of Eye Spy, we capitalize on the ensuing Hollywood brouhaha by observing the striking similarities between stills from two critically acclaimed films (i.e. No Country for Old Men, and, um, Sex and the City) and two renowned works from MoMA.

Ernst Barlach’s Head (1927) and Javier Bardem as Anton Chigurh in No Country for Old Men (2007)

Eighty years after Barlach crafted his bronze sculpture, the Coen brothers reproduced the same spectacularly ugly haircut on the head of Bardem. The rounded chin, wide-set nose and expressive eyes (whether open or closed) are common to both pieces—as is a general air of dark mystery that typifies Barlach’s work. A German known for his anti-war statements, Barlach focused on the degenerate classes, usually meaning the outcast or the poor. The Coen brothers likewise are attracted to this type of character, though more in a Nietzchean-uber-man-terrifying-killer-with-an-air-gun sort of way.

Guy Pène du Bois’ Americans in Paris (1927) and the ladies of Sex and the City (2008)

OK, so Sex and the City 2 was $13 (plus snacks) not well spent. But the first one classifies as l’art exquis, sort of like Guy Pène du Bois’ Americans in Paris (1927). In each, four fit and fashionable women walk in perfect synchronicity and coordinated attire. In the background, buildings of fabulous cities recede to a point on the right. But look closer at the du Bois, and the women don’t seem too happy—two are almost faceless, one looks straight up concerned. They should be having a great time (it’s Pear-eeee after all), but something is terribly wrong. It makes one get all sorts of upset over the inner psychological turmoil the ladies of SATC might be going through. Is Carrie really ecstatic, or just faking it? Is Samantha concerned over how much red she’s wearing? Or, is it something else entirely?