Abstract
The Limits of Control is considered an American film, although it relies on funding coming from foreign countries and on a multinational cast. The analysis of American reviews shows a rejection of the movie that is seen as un-American; American critics fail to focus on the film maker’s original depiction of Spain. Conversely, Spanish critics warmly welcome Jarmusch’s film. Their interest centers on the new vision of Spain it offers, and on the ideological criticism expressed by the various characters. Such a national approval paradoxically stems from a filmic text where nationality is voluntarily deconstructed through themes that are cut off from any references to nationality, and from a general defiance towards language, which undermines the role of national idioms in the building of national identity.
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