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Title: The Limits of Control (2009)
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| Cast overview, first billed only: | |||
| Isaach De Bankolé | ... | The Lone Man | |
| Alex Descas | ... | The Creole | |
 |
Jean-François Stévenin | ... | The Frenchman |
| Óscar Jaenada | ... | The Waiter (as Oscar Jaenada) | |
| Luis Tosar | ... | Man with Violin | |
| Paz de la Huerta | ... | The Nude Woman | |
| Tilda Swinton | ... | The Blonde | |
| Yûki Kudô | ... | Molecules | |
| John Hurt | ... | Man with Guitar | |
| Gael García Bernal | ... | The Mexican | |
| Hiam Abbass | ... | The Driver | |
| Bill Murray | ... | The American | |
| Héctor Colomé | ... | Second American | |
| María Isasi | ... | Flamenco Club Waitress | |
|
|
Norma Yessenia Paladines | ... | Flight Attendant |
A solitary man who does not speak Spanish is an underground courier. Two men who are both thuggish and philosophical send him to Madrid with cryptic instructions. Over the course of a few days, he receives his instructions from a series of distinctive individuals who provide words of philosophy or of warning and also give him a matchbox with a tiny piece of paper, which he reads then eats, accompanied by espresso served in two cups. He is quiet, self-contained, focused on his work. He has rules. He encounters and at times transmits a violin, diamonds, a guitar, and a map. Is he a smuggler? Merely an independent conduit? Or, something else? Written by <jhailey@hotmail.com>
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I was thinking that this was the abstract baby Lost in Translation and The American had, and just like that Bill Murray eventually makes an appearance. The way he looked at the skull on his desk really made me smile.
The reason I watched this movie was because of Boris & Sunn O)))'s contribution to the soundtrack, and that was the only reason. Well, I was in for it! Personally I don't think this drone / doom metal soundtrack fits this movie, or almost any movie, but surely I am biased. And perhaps I've just listened too much to the songs beforehand so that I find they are too cut down, repetitive and out of place here. Boris's music worked in Kokuhaku, though.
Also, did I get what The Limits of Control was about? Not overall, and I didn't like the unrealistic dialogues. It made the dominating silence in the movie seem more meaningless and less thought-provoking. Still, having random (famous) people ramble on about long-winded, ambiguous and quite irrelevant topics didn't lack charm (I'm not being completely sarcastic, especially in John Hurt's case). But hey, it is a very symbolic and long-dragged movie that shrouds its various points with mystery. It is a full-blown "show, don't tell" piece of film. Make what you will of it; I was entertained throughout but I did not arrive at any satisfactory conclusion.
However, the wavering of the camera in the last second of the movie had me wondering. Did I limit this movie?