As the extremely withdrawn Don Johnston is dumped by his latest woman, he receives an anonymous letter from a former lover informing him that he has a son who may be looking for him. A freelance sleuth neighbor moves Don to embark on a cross-country search for his old flames in search of answers.
A self-styled New York hipster is paid a surprise visit by his younger cousin from Budapest. From initial hostility and indifference a small degree of affection grows between the two. Along... See full summary »
On the run after murdering a man, accountant William Blake encounters a strange North American man named Nobody who prepares him for his journey into the spiritual world.
A depressed musician reunites with his lover, though their romance - which has already endured several centuries - is disrupted by the arrival of her uncontrollable younger sister.
Director:
Jim Jarmusch
Stars:
Tilda Swinton,
Tom Hiddleston,
Mia Wasikowska
This film documents Neil Young and Crazy Horse's 1996 concert tour. Jim Jarmusch interviews the band about their long history, and we see backstage footage from the 1970s and 1980s.
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>
When the Lone Man travels from Madrid to Sevilla, he enters a S 100 AVE train set. But the interior shots are clearly done in a S 103 (Velaro E), a totally different - and much newer - type of train. See more »
Quotes
[first lines]
Creole:
[character speaks in Spanish/French creole, English subtitles]
You don't speak Spanish, right?
French:
[character translates for Creole]
You don't speak Spanish, right?
Creole:
You are ready? Everything's cool?
French:
You are ready? Everything's cool?
Lone Man:
Yes!
Creole:
Good.
French:
Good.
See more »
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?
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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?