A potentially fatal brain tumor forces Vincent Libérati to abandon the glamour of a globetrotting secret agent's life and return to Marseille to be close to his teen daughter Lola and ex-wife Alexandra.

He decides to leave the secret services and live out his final months in Marseille, near his daughter Lola, whom he allowed to grow up for too long without being there, and his ex-wife Alexandra, who is about to start a new life with a brilliant local attorney.

Without telling them about his illness, Vincent tries to spend as much time with them as possible, while maintaining contact with his former handlers, who offer him top-secret missions in return for an experimental treatment for his tumor.

French channel TF1 had been asking Luc Besson to create a TV show for them since 2005, but the filmmaker kept turning them down due to his unfamiliarity with television, which is also the reason he sold the rights for Transporter: The Series.

[10][11] Based on an original idea by Luc Besson, the series was co-created with screenwriter Franck Philippon, whose first feature, À ton image, was produced by EuropaCorp, and was announced by TF1 on April 6, 2012.

In addition, the title was meant to give the show an international-sounding name in order to widen its appeal and was also a reference to the state of the hero, who is afflicted with a brain tumor.

[16] On the other hand, the show marks the second lead role in a TV series for Anne Girouard, after six years of portraying Guinevere in the successful Arthurian comedy Kaamelott.

Her casting was heavily hyped in the media as Luc Besson's latest female revelation after Natalie Portman, Anne Parillaud, Milla Jovovich and Marion Cotillard.

The show's numerous stunts were handled by Alain Figlarz and his team, who had previously worked on projects such as The Bourne Identity, Taken 2, 36 Quai des Orfèvres and Brotherhood of the Wolf.

Yves Beloniak a frequent collaborator of director Didier Le Pêcheur and César-nominee for his work on La Vie en Rose edited the following two episodes while Christine Lucas Navarro was the sole editor on the last two.

Visual effects were handled by Thierry Delobel who had previously worked on projects such as Amélie, The Fall, A Very Long Engagement and Asterix & Obelix: Mission Cleopatra.

Writing for the Belgian weekly Moustique, Geneviève de Wergifosse gave the show a mixed review, leaning towards the positive, and awarded a score of two stars out of four, criticizing the unbelievable plot but singling out the casting of Vincent Elbaz, Anne Girouard's performance, the cinematography and the "macho" directing.

[27] In L'Express, Sandra Benedetti also praised Elbaz and Girouard's acting as well as Damien Jouillerot's, noted Didier Le Pêcheur's "incredibly efficient" directing and singled out the fifth episode as the show's highlight.

[29] In Télé 7 Jours, Isabelle Magnier was also impressed by Elbaz and deemed that the show held its promises, though she also felt the plot required a strong suspension of disbelief[30] while in Le Figaro, Nathalie Chuc opined that No Limit worked pretty well and was efficient, while comparing the directing favorably to 24.

[24] One of the more negative reviews came from Adrien Maillard in Le Nouvel Observateur who felt the show was disappointing, the premise unoriginal, the action scenes dull and the dialogues flat.

Prior to the French broadcast, creator Luc Besson confessed being slightly afraid, rationalizing that "in a movie hall, the audience doesn't have a remote control to change the channel".