Afouotos Although it has its amusing moments, in eneral the plot does not convince.

Brendon Jones It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

Nayan Gough A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

Marva It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

Chrysanthepop 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.

Natashenka_S 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.

Keith F. Hatcher 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.

gregoHP 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.