En la ciudad sin límites (2002) User Reviews

Intriguing and moving Spanish film set in Paris about a dark secret that affects a wealthy family

[ma-cortes · 8/10 · 12 February 2013]

¨The city of no limits¨ is a beautiful story and haunting drama , dealing with a hidden truth . This is a co-production Argentina/Spain/France , being well paced , skillfully edited and suspenseful . It is plenty of thrills , intense drama , twists and turns and is pretty interesting . It talks about Victor (Leonardo Sbaraglia), a young who gets to Paris to unite his brothers (Roberto Alvarez , Alex Casanovas , Adriana Ozores , Ana Fernandez) and mother (Geraldine Chaplin) around their seriously ill daddy named Max (marvelous , as always , Fernando Fernan Gomez) . As the chance of selling the family business about pharmaceutic laboratory begins to disrupt the family relationships , Victor is desperately asked for help by Max . What seems in the beginning mere delusions of an old man losing his mind , begin to show clues of a strange secret may be true . Victor decides to help his dad to resolve that something he is searching for.

Interesting Spanish film plenty of thrills , emotion , suspense , intrigue , plot twists and being pretty entertaining . The picture profits itself from a top-drawer plethora of players who give exacting interpretations . Suspenseful from start to finish and dealing with some sort of real 'secret' that is troubling Max/Fernando Fernan Gomez's last days , while Victor/Leonardo Sbaraglia is trying to find it out . Exciting and thought-provoking plot by Enrique Braso and the same filmmaker Antonio Hernandez that deservedly had Goya Award Winner best screenplay . Excellent support actors formed by a Spanish all-star-cast such as Ana Fernández as Carmen , Adriana Ozores as Pilar , Roberto Álvarez as Luis , Àlex Casanovas as Alberto , Mónica Estarreado as Beatriz ; furthermore , South American players as Leticia Bredice , Alfredo Alcón as Rancel and director Cameo , Antonio Hernández as friend of Rancel , although credited, may pass unnoticed. Special mention to wonderful musical score , Victor Reyes composes a thrilling and touching soundtrack that is one of the best parts of the film . Colorful and luxurious cinematography by Unax Mendia .

The motion picture was stunningly directed by Antonio Hernandez . Antonio is a good craftsman , writer , producer and occasionally actor . Antonio Hernández -whose first film, 1979's F.E.N., is one of those never praised enough hidden masterpieces of Spanish cinema- is expert on all kind of genres , such as comedy ¨Apaga y Vamonos , Como Levantar 1000 Kilos , Menor de Males¨ , Historical , ¨Los Borgia¨ , and Thriller ¨ Oculto , Lisboa , The city of no limits¨. And he also directs TV series such as ¨Tarancon , Sofia and Dias sin Luz¨ . In ¨City of no limits¨ Antonio proves to be a very courageous auteur , shooting a magnificent picture .

Emotion in the strangest places

[jpschapira · 8/10 · 24 May 2005]

"You must find the way out", declares the tagline. It's, with one simple look, referring to the movie's title; "The City of No Limits", and how to get away from it. That's how you would imagine, but it's much more complex. It's a way out of problems and situations involving a family…A way to show what happens when a family is separated for a long time and meets again.

I decided to watch this movie, mainly, because I saw Leticia Brédice's name somewhere. She's probably my favorite Argentinean actress and I love to see her in movies (because she also works in television). I considered that reason enough, but I was glad I found Leonardo Sbaraglia too. He's an excellent character actor that was born in Argentina but, like many others, tried luck in Spain and did many movies in both countries.

"En la ciudad sin límites" is a co-production between Spain and Argentina…This co-productions fail almost all the times, because the writers have to invent plot elements to set locations in any of those countries. But not this movie…This movie is set mostly in France…It includes characters living in Argentina, in Spain, but once the family is reunited, it's France.

Director Antonio Hernández takes great advantage of this, and his camera travels through Paris' streets, from building to building, from house to house, from hotel to hotel; even when the main situations occur in a hospital floor…Less, a hospital room. In this room, Max (Fernando Fernán Gómez) is dying and this joins the whole family together. Spanish and French words are spoken all over by different and peculiar characters; in an objective demonstration of how life goes round and round. It happens with my family today. I have family in France, in Peru, in Venezuela, in Argentina…Sometimes it happens that events join us.

I won't expand on the things that all the characters experience (each of them has at least one magical moment); because in the end, even when there's a main event, there's a treatment and for every person of the family…That's what the movie makes us watch and hear. Víctor (Leonardo Sbaraglia) is Max's son and has to secretly help him find a person, Rancel (Alfredo Alcón), that probably doesn't even exists, because Max is probably going crazy, or back to the past. Víctor is married to Eileen (Leticia Brédice), and meets in the reunion with Pilar (Adriana Ozores), his brother's Alberto (Álex Casanovas) wife, and his own old lover. Luis (Roberto Álvarez) was married to Carmen (Ana Fernández) and had to children, but now they're separated and in Paris for different reasons; when Luis' girlfriend, Beatriz (Mónica Estarreado) gives a surprise visit...Marie (Geraldine Chaplin), Max's wife and the boys' mother, is quiet and lonely; also keeping something hidden.

Writing is outstandingly correct, with the director and his collaborator coming up with an interesting and emotional story mixing emotions with mystery…And that's probably the film's dilemma. It has a side where it wants to work as a suspense movie, thriller; and it could have gone wrong, but it didn't because the elements are correctly combined and I managed myself to put all together in my mind as a powerful movie with all its things. In the movie's intent for the thriller genre, and the mix I'm talking about, it was difficult for the team to get the right structure. Luckily, it all came out fine indeed; with a score by Víctor Reyes that has its totally strange moments, but at the same time powerful and moving moments with inspiring melodies.

The acting by the entire ensemble is decent. Sbaraglia highlights as Víctor, in a very natural performance with a lot of commitment. Adriana Ozores also highlights as Pilar, and carries some powerful scenes in her shoulders. The pros Gómez and Alcón are lovable in their characters, Chaplin gives strength to a simple Marie, Álvarez generates laughs with his Luis, Fernández goes crazy as Carmen, Casanovas makes everything look easy through Alberto's eyes, Estarreado looks as she needs to but does little as Beatriz and Brédice; well…She's still the Leticia I love to see.

The film deals with some fresh strong issues in its dramatic moments; but don't be fooled. This is not a movie about prejudices and opinions about people. It's about what each human being thinks is best for it, deciding in order to get that; and those decisions can cause lots of troubles.

A worthy drama

[khatcher-2 · 7/10 · 2 June 2004]

Some things sneak up virtually unannounced, such that when the result is far more satisfying than one might erstwhile have presupposed, the surprise is even more gratifying. Such is the case with this Argentinian-Spanish co-production, mostly filmed in Paris. On seeing the IMDb voting average my reaction was something like: `ya veremos..........'.

Good interpretations by all the cast, especially by Fernando Fernán Gómez and Leonardo Sbaraglia, hold the spectator, and the film grows on you as the events unfold, admirably helped along by Víctor Reyes' music, from soft and melancholic to tense and rhythmic patterns a little in the style of Philip Glass.

The old man is dying in a Parisian hospital and all the family gather around him; the youngest son, Víctor comes all the way from Argentina with his girl-friend. But it is he who begins to unravel mysteries of the past, as the old man´s mind seems to be locked on events of forty years ago.

Well built-up story line, moving with logical ease from scene to scene with good characterization all round. The denouément seemed unnecessarily stretched; it could - should - have finished on the benches of the railway station; the ensuing brief scene rounding off the film is as foreseeable as unnecessary, and added nothing to what had already been stated.

Geraldine Chaplin does not usually go too well with me, and so it is in this film; I think it is that ever-present British accent speaking Spanish that annoys me a little; perhaps this is only a little mania of mine, as my own accent speaking Spanish is no better!

Highly recommendable film for those who look for real drama without over-the-top interpretations ` a la Hollywood' and can concentrate on the dialogues and development of a nicely filmed and told story.

A perfectly structured thriller

[abisio · 20 February 2003]

A rich Spanish man is treated for a brain tumor in a Paris hospital . His family around him, fighting for the inheritance (and mutually betraying). The old man seems to have lost contact with reality, but his elder son noticing that he still has some consciousness, tries to establish a communication with him, even when that implies to get into his father madness and discover secrets nobody wants to surface.

The movie is an exercise in suspense. Perfectly orchestrated situations, make you feel nervous about simple things as a walk in the hall (trying to get out of the hospital). Or make the bad guy out of a worried mother. This is just a family story with an old mystery. It is so simple that similar things happen every day but with an incredible craftsmanship was converted in a thriller.

Yes, it is a thriller and a mystery. It has all the elements you usually expect; sex, betrayal, lies. No, is not what you expect. The story is clever but realistic. The violence is replaced with poetry, and as in real life, lots of things happen but few are really resolved.

the mystery of the city with no limits

[nicolas-prandi · 7/10 · 21 May 2011]

En la Ciudad sin Limites certainly traps the audience in the mystery and suspense of the story. The film is about a family who is reunited in France when the news of their sick father comes to each of the brothers. As the sons and their mother talk about selling the family business, Victor, one of the sons, switches his attention to the needs of his father. Although everyone else believes that Max is delusional, Victor gives him the benefit of the doubt, which in time reveals some hidden secrets which none of the sons new about. The character of the father, Max, is a very interesting one which keeps the audience at the edge of their seats, wanting to know whether he is acting crazy or if he has a purpose in mind. While the story centers on Max and his son Victor, the director also includes side stories of affairs involving the brothers and their girlfriends or ex-wives. These side stories do not add much to the mystery at hand, but seem to only make the story a bit more complex.

Beautifully made

[christian94 · 9/10 · 28 August 2002]

This is a movie with strong acting and a suspenseful intrigue that successfully peels open layer by layer to leave a sentiment of understanding and satisfaction to the attentive audience.

"En la ciudad sin limites" is the story of a Spanish family (Madrid) who is gathered in Paris to support the 'pater familia' in his fight against a terminal illness. Family secrets and tense relations will surface and the dying old man, secretive as can be, will nonetheless give clues to what is really going on in the city without limits.

This Spanish and Argentinian co-production is a testament to the collaboration of nations to produce top-notch film-making with an excellent cast, great directing, deep and compelling storytelling, and the power of a incredible cinematic experience.

There are so many interesting stories intertwined that some will be left without clear answers, and this is particularly effective because of the care taken to flesh out believable flawed characters that make us attached and concerned about their lives. Lives that are no less complicated and problematic than our own.

You will experience unexpected turns hand and hand with the characters and be able to not only relish the story and the denouement of the complex plot, but to appreciate this portray of the drives and constraints of men.

Spaniards in Paris

[jotix100 · 7/10 · 30 November 2004]

At the risk of casting a dissenting note, this film with its convoluted plot, showing a dysfunctional family fighting as the patriarch is dying, left this viewer cold. One has to appreciate the fact that independent film makers take a different view on what they perceive as correct. The Spanish cinema, in general, loves to load a lot of political baggage to the plots of their films, at the expense of the viewer's interest and knowledge of history of that country.

Antonio Hernandez, the director, working on his own material, shows he can direct a large cast of Spanish and Argentine actors. The only problem is the story is not so compelling and keeps getting side tracked by the heavy laden screen play.

The acting, in general is adequate. The matriarch Marie, as played by Geraldine Chaplin, is the most annoying figure in the film. Fernando Fernan Gomez, as Max, plays his usual self with gusto. Leonardo Sbaraglia, an excellent actor, is Victor, the son that believes in the conspiracy. Alfredo Alcon, one of the best Argentine actors of stage and screen appears briefly in the film.

A thriller on feelings

[gregoHP · 10/10 · 20 March 2002]

An old man is dying of cancer in a hospital, but he has something to do first. He doesn't trust no one in his family (who has gathered around him in hospital) but his younger son, Victor, who just arrived from Argentina. He is the only one to notice that something's weird with his father...

Hollywood-like thrillers are serving as a cover to introduce deep, human-relation movies to the public. We've seen it in Lantana for instance. The big misteries, the fantastic intrigues we've seen so many times in conventional American movies are here changed for feelings. Although the movie develops as a thriller, with its intrigues and misteries, at the end we see that there's no bigger mistery than human relationships.

A very good way of wrapping a typical intimist European or Asian movie with an American-style thriller cover.

Can bad music ruin a good movie?

[Jully_Brasil · 7/10 · 27 December 2003]

I saw "En la ciudad sin límites" a couple of months ago in the Rio de Janeiro International Film Festival and I left the movie theatre with mixed feelings about it...I mean, the story is very interesting and interestingly told and all the actors are very well (gotta love Geraldine Chaplin and a very hot and talented Leo Sbaraglia), but hey, nothing in life is perfect, right?

The movie begins with Sbaraglia's character, Victor, re-joining his family in Europe after years of reclusion in Argentina. His father Max (Fernando Fernán Gómez, superb) is dying - and losing his mind-, so the three sons and their mom Marie (Chaplin) have to decide what to do with the family business. It doesn't take too long, though, for Victor to find out that Max's so-called delusions are based on secrets buried in his past, so the estranged son embarks on a desperate journey to uncover the whole story to allow his father to die in peace - even if it means he has to go against the rest of the family.

SOUNDS good? Well, not actually..."En la ciudad sin límites"'s score might be one of, if not THE worst in the history of moviemaking. Seriously, it exaggerates the moods, creates (or at least tries to create) emotions which are totally different from the ones the images and script pass...a total disaster. But if you can get past that, you won't be disappointed, given that the subplots are also very very interesting and the ending, though not entirely unpredictable, fits like a glove the critic to the traditional, high society.

I saw "Les invasions barbares" ("The barbarian invasions") a few weeks after "En la ciudad sin límites" and the two have lots of similarities, though the Canadian film exchanges the suspense/mystery factor for a political tone. I know a lot of people will want to kill me, but if it wasn't for the terrible music, I'd say the Spanish movie's better, 'cos quite frankly I don't know what's all the fuss about "Invasions", seriously. I'm 21, but a friend of mine who's the same age thought it was amazing and, on the other hand, my mom, who's 47, didn't think much of it - that proves it has nothing to do with age. I don't know, for me, it just didn't bring anything new...but I shouldn't be talking about it here...

Well, anyway, I say go see "En la ciudad sin límites" if you have a chance. I gave it a 7 out of 10 because of the score, but the movie itself is a solid 8 or even a 9. Two thumbs up.

The best film in Berlinale 2002

[dziwnytenswiat · 10/10 · 15 October 2002]

This film was best film in the Berlinale 2002. I have seen 4 films a day during the festival and there was no film like this. Great actors, great script, intelligent and thrilling. Everything you need for a great film was in this movie. Congratulations to Spain for their great film industry. For me the best in Europe.

Astoundingly good

[Good-Will · 9/10 · 26 May 2009]

I rented this (Along with some other Spanish films) simply because my girlfriend is learning Spamish, so thought it would help with her revision.

We weren't expecting anything special, but we watched it together this afternoon and were both blown away about how good it was.

There are some films that I love because of the cinematography, the editing, acting or special effects, but usually the script.

And this film kept us gripped from about five minutes into it, just because of the sheer excellence of the writing and directing.

To describe the plot would spoil it for you and it's been tried before by members here who I thank because there were no spoilers in their posts.

It left a deep impression on us just because it's an excellent story, well told and acted.

I can understand why it wasn't showered with accolades because of what it's about, but if there was any justice in the world then this should have won an Oscar. It's that good.

Cheers, Will

An amazingly well-crafted film.

[almonme · 10/10 · 11 December 2002]

Everything in it works perfectly, from the extraordinary performances to the atmospheric cinematography, music, etc. To me it was the best spanish movie of 2002 (better than Fresnadillo's "Intacto" or Almodovar's "Hable con ella") and among the best I've seen this year (maybe only beaten by "The Fellowship of the Ring" and "Spirited Away").

The ending deserves a special mention. It left me trembling with emotion and swallowing my tears and I can assure you that I'm not the type that cries in movies.

Not bad at all

[guachumara · 8/10 · 5 January 2005]

I saw this movie by chance on a cable channel so i had no previous info about it. That's nice because there are no expectations, and the story kinda flows that way, it seems to be, at the beginning, a movie about a dying man, father of the central family and some trouble about money starts to pop, but the delusions of the sick father then begin to take importance, an enigma is brought to the ongoing lives of the family. Then movie starts turning around as some truths come up and finally a very unexpected ending. Thought it is a very slow an moody picture it has a nice rhythm, novelesque type. Acting is good specially by the leading roles (The father (Max) and his son (Victor). Music's really good and adequate for each scene. Some of this actors appear in some Almodovar films so it's a good casting i guess.

guilt eats the soul

[Natashenka_S · 9/10 · 12 August 2006]

Maximillian Martin (Fernando Fernan Gomez) is an old man dying of a brain tumour. His wife Marie (Geraldine Chaplin) and two eldest sons have brought him to Paris following his wish. They insist on a complex brain operation, even though it's rather risky and will not cure the patient but only prolong his life a little. The family is depressed, it seems that they have accepted the verdict and don't even try to encourage Max a little bit. They are also occupied with selling the family business, and the two sons have their own family problems. The youngest son Victor (Leonardo Sbaraglia), an intelligent and charming guy, comes from Argentina with his fiancée Eilin (Leticia Bredice). Victor has been estranged from his family, but he comes out to be the only person whom his father trusts.

Max is behaving very strangely. He doesn't want to take his medicines and seems to be paranoid and scared of the nurses in the hospital. He regularly attempts to escape (secretly, as if it's a prison and not a hospital) and find a man called Rancel in order to warn him against some danger that awaits him if he gets on the train. Victor doesn't understand whether this Rancel actually exists, or the tumour has affected his father's sanity. Then he asks his mother Marie if she knows who Rancel is, but Marie says that she has never heard this name. Victor doesn't really believe her and her behaviour seems to him suspicious.

Marie is a controlling mother, a woman with a quiet voice and emaciated look. She guards a dark family secret that poisons her from the inside. Victor insists on her revealing to him who this Rancel is and she tells her son a story: a long time ago Rancel and Max were together in a communist cell, but Max betrayed his comrade. Rancel was arrested and soon died in jail, and Max cannot forgive himself because of it. The truth is, however, that Rancel is alive, he is about to meet Victor and to reveal to him the whole terrible secret Marie is hiding. Marie tries to explain herself to Victor and says that their family owes its very existence to her lie, she is very probably right, and Victor has to admit it.

It is a very good and strong film about a feeling of guilt that destroys one's soul. It has some especially memorable scenes. One of them is on the train station, near the end, when Max is looking at the passers-by trying to recognize Rancel, and Victor sits by his father's side and cannot tell him that Rancel won't come. The other moment is when Rancel comes to Max's funeral and faces Marie, a very strong scene that needs no words. The acting is very good, especially the one of Leonardo Sbaraglia, Geraldine Chaplin and Fernando Fernan Gomez (his characters are always so memorable). I recommend this film to everyone.

Limitless City

[Chrysanthepop · 30 October 2009]

The trailer might be misleading but that is not to say that 'En La Ciudad Sin Límites' is a letdown. It reminded me of a Barbara Vine novel where a family is introduced and then subtle hints display that not all is what it seems and there are secrets to be discovered. It can be described as a thriller because the viewer is kept in constant suspense about Max's mystery. Even the subplots, like Carmen and Victor's romance, adds to the characterization. Antonio Hernández is a competent director and the way he sets the premise and tells the story is compelling. There are some nice scenic shots of Paris but that seems to add more to the mystery and complexities of the story. Victor Reyes's sometimes soft and sometimes erratic score works well. It reminded me of Philip Glass's work. The cinematography works adequately. The performances are solid with Fernando Fernán Gómez and Leonardo Sbaraglia owning the film. Of the supporting cast the beautiful Ana Fernández shines while Geraldine Chaplin is convincing as the cold hearted Marie. 'En La Ciudad Sin Límites' is a product of excellent storytelling, fine acting, very good direction and money well put by Spanish and Argentinian production teams.

Compelling drama, well-made

[mtomlins · 8/10 · 14 October 2006]

I really enjoyed this film. The drama of Max approaching death and losing his grasp on reality intertwined with his fear/wish that he might still be able to undo an act committed 40 years earlier was compelling and very real, at the same time providing a strong element of suspense as his son Victor slowly unravels the truth. The romantic sub-plots work nicely to enhance the theme of betrayal. My only criticism was that I didn't think the gay theme worked and felt inserted into the plot. I personally found the relationship between the two men more profound as purely a political one. I think Marie's jealousy would have been more poignant if she had felt threatened by that side of the men's friendship and not the sexual. But overall an excellent film, well worth seeing. Great soundtrack.

When a big budget and talent work together

[abelposadas · 21 April 2012]

It is not usual to find a big budget and talent going together but such is the case of "En la ciudad sin límites". Apparently it is a cold X ray about what has become of those ideals when youth was fighting in the resistance against Franco.

The real story belongs to the three old characters and Fernando Fernán Gómez, Geraldine Chaplin and Alfredo Alcón -in a brief scene- teach you how to contact the audience when they have a good director.

This effort with a solid story is perhaps a big overlong but it shows you what is the quality and the moral of moneyed people in contemporary Spain abel posadas