Une langue universelle

Philosophers and metaphysicians are generally quick to agree that we're all fundamentally connected, both to one another and to everything around us, that there's a certain universality binding all there is in our existence. But how many of us actually take the time to truly recognize, consider and appreciate this? Maybe this calls for stepping away from our everyday world and immersing ourselves in some sort of alternate version of it to see the inherent connections and the value that lie therein. That's what writer-actor-director Matthew Rankin so eloquently shows us in his second feature outing, an absurdist fable of seemingly unrelated stories that ultimately tie together to illustrate the bonds that unite us and how we can put them to best use for our collective benefit. This triptych of tall tales tells the stories of a Quebec government worker (Rankin) who quits his job to return home to visit his long-estranged mother in Winnipeg; a part-time tour guide (Pirouz Nemati) who leads small bands of visitors on an excursion of mundane, unimpressive alleged tourist sites in Manitoba's capital city; and a pair of concerned grade school classmates (Rojina Esmaeili, Saba Vahedyousefi) who try to secure funds to help a friend (Sobhan Javadi) replace his lost eye glasses when they fall off and are quickly pilfered by a crafty. Free-roaming wild turkey. The assistance these individuals freely offer to others (and receive from them in kind) to get through the quirky challenges of these bizarre circumstances, in turn, reveals the unspoken "universal language" that binds all of us - our mutual compassion and support for one another, particularly those in need. All of this is set against the backdrop of an alternate version of Canada (where the primary language is Farsi) in winter, providing a fitting setting for wending our way through the cold world that surrounds us. "Universal Language" thus serves up a heartwarming, gentle yet insightful story that reminds us of our innate linkage and the goodwill that we're all capable of unselfishly extending to one another when warranted, something that, ideally, should come to us as second nature, as it does for the characters in this film. And all of this is nestled into a wealth of hilarious, off-the-wall humor, coming across like a mixture of Monty Python and Federico Fellini. Admittedly, the film's opening act may seem somewhat disjointed and perhaps even a bit too idiosyncratic for its own good at times, but these issues gradually dissipate as the picture plays out and the pieces of its various story threads begin piecing themselves together, revealing the aforementioned intrinsic connections among us. This delightful indie gem has largely flown below the radar thus far, despite its awards, nominations and rave reception at the 2024 Cannes Film Festival, as well as its designation as one of the National Board of Review's Top 5 International Films of last year. Indeed, at a time when it seems like there's so much dividing us, it's gratifying to see a release like this, one that tenderly spotlights more of what binds us than what sets us apart.

UNIVERSAL LANGUAGE (2025) Matthew Rankin's absurdist film about finding one's self. Set in the Persian community in Canada, the story follows a government administrator named Matthew (and played by the Director) who leaves a position in French speaking Quebec to visit his mother in Winnipeg (he describes his job as the most "neutral" of his career). Along the way he encounters two schoolchildren who are trying to uncover some lost money which is encased in ice (where else?). He discovers that his mother is living with a tour guide, Massoud (Pirouz Nemati), and his family.

Rankin's screenplay (written in collaboration with Nemati and Ila Firouzabadi - who also has a role) is all about the journey. The script is full of witty details like insanely specific storefronts which specialize in only one thing - Birthday cakes, typewriters, chainsaws etc.. There are people wandering the streets asking if anybody needs to have their papers shredded - on the spot! A running gag involves a man (Bahram Nabatian) who is renowned for his knowledge of turkeys and has a series of TV commercials to spread his legend. And, of course, there's a very special Tim Hortons.

Shooting in 16mm, Cinematographer Isabelle Stachtchenko gives the film a strong formalist vision. The locations are often bland building after bland building or incongrous - such as a cemetary along a highway intersection. Rankin's compositions may remind one of a Roy Andersson or, more specifically, Winnipeg's own Guy Maddin. Iranian cinema is evoked. The dry dialogue can call to mind the great Aki Kaurismäki (he of equally frigid Finland), but Rankin makes UNIVERSAL LANGUAGE his own.

There is a bit of a metaphysical turn in the film which emphasises Rankin's theme of how every human must discover their own 'language'. It's not based on speech, nationality or country, but comes from within each and every individual. It's a fractured fairy tale in the best sense, at once witty, but subtely profound at the same time.

Travel Tip: When visiting Winnipeg keep in mind that loitering laws are Strictly Enforced.

The film takes place in an alternate surreal reality where English doesn't exist, Winnipeg's native language is for some reason Persian of all languages and Tim Horton's sells tea instead of coffee. No reason to explain why, the start credits are already in Persian, enter a world of subtle absurdities. But this is not a foreign movie, there's not much else about Iran or Iranians (the plot/trailer are misleading), it's supposed to be ordinary Winnipeggers. The rest is just a lovely universal human story mixed with alternative facts and made up history.

For the big fans of absurd humour such as myself, the sense of humour is impeccable. Matched with visually interesting filming locations, like large patterned cement buildings akin of 50s futuristic worlds, good music and good performances. You might need to be Quebecois to appreciate how funny the Quebec bits are.

This movie was trying to be way too clever for its own good. It seemed to be trapped within its own whimsy thus lessening any potential of actual solid storytelling. It felt like absurd for absurd's sake in order to serve the whimsy and it missed the mark.

It felt like an exercise of style over substance and left me simply thinking «meh, whatever » by the end of the film.

The few good moments (the Montreal sequences, the teacher) are too short and not enough to redeem the film.

The filming style was derivative and unfortunately the city of Winnipeg, which should have been a feature in the film, was mysteriously underused.

All in all the film feels like a missed opportunity. Cannot really recommend.

This brilliant gem of film traces the the interacting lives of a group of children trying to find some money to help a schoolmate and a son returning for his mother's birthday. T The film establishes a unique and somewhat surreal fantasy universe, where most residents speak Farsi and have Iranian descent. The setting, characterized by graveyards alongside highways, empty malls, and rural bars, evokes a sense of emptiness and isolation reminiscent of the show "Northern Exposure" after developers arrived in the town. Like "Northern Exposure," "Universal Language" centers around the central decency and humanity of its characters. The film's peculiarity lies in its exceptional use of cuts, shots, and color, which prevents it from becoming cloying. Instead, it serves as an earnest exploration of memory and responsibility.