Jim Jarmusch’s 2008 movie *The Limits of Control* follows an unnamed hitman (Isaach De Bankole) as he prepares for an assassination in Spain. It isn't explicitly stated that he is a professional, but his rigid demeanor, unchanging face, and the constant presence of a suitcase quickly establish this from the very beginning. Isaach De Bankole is well-suited to the part; he possesses a face that seems almost sculpted from stone. Any glimpses of humanity we see in the hitman are therefore all the more surprising. As the film unfolds, the hitman encounters a series of people who guide him on his journey to obtain necessary equipment and eventually confront his target. These individuals working for his mysterious employer remain unnamed, though they’re often identified by items they carry or other characteristics: "Guitar" (John Hurt), "Blond" (Tilda Swinton), "Violin" (Luis Tosar), "Mexican" (Gael García Bernal), and "Molecules" (Youki Kudoh). While engaging the assassin in conversation to subtly deliver their messages, they offer unusual monologues. Many critics criticized these lines as nonsensical metaphysical talk. In reality, everything said is directly connected to what’s happening, but this kind of film requires a second viewing to fully understand it, and those who aren't intrigued enough to return may find the movie disappointing. Although Jarmusch touches on America during the Bush administration at times, this is ultimately a psychological drama: the hitman’s assignment and his contacts represent different aspects of his own mind. Some have attempted to interpret this as a straightforward Freudian conflict between the id, ego, and superego, but I believe Jarmusch is aiming for something more nuanced—something he struggles to articulate. *THE LIMITS OF CONTROL* feels like a cinematic counterpart to the later albums by Scott Walker, where the characters, cultural references, and apparent storyline exist solely to express an intense feeling within the artist’s own psyche. Jim Jarmusch has consistently said that his approach involves absorbing influences from previous films (and books, music, etc.) and allowing those inspirations to show in his work. *The Limits of Control* is full of nods to film history: Jean-Pierre Melville ("Le Samouraï"), Orson Welles ("The Lady from Shanghai"), Alfred Hitchcock, Aki Kaurismäki ("Le Vie de Bohème"), Alejandro Jodorowsky—and likely others that I didn’t recognize. The film's lack of traditional interaction between characters and the abundance of references ultimately make *THE LIMITS OF CONTROL* feel somewhat detached and unfeeling when compared to many of Jarmusch’s other films. Nevertheless, the visuals are enough to make it a worthwhile experience despite its shortcomings. With Christopher Doyle operating the camera, we get several beautifully framed shots that will stick with you.

Source on TMDB