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Une langue universelle 2024 WEB.HDTV Magnet Link
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An absurd triptych of seemingly unconnected stories finds a mysterious point of intersection in this tale set somewhere between Winnipeg and Tehran. Canada’s official submission for the 'Best International Feature Film' Category of the 97th Academy Awards in 2025. These Eyes, written by Randy Bachman and Burton Cummings, performed by The Guess Who. From its cinematography and its usual search for symmetry, static or in tracking shots, and a pleasant aesthetic and dreamlike atmosphere that enhances the universality of the settings, to its story that revolves around different characters, how their lives intersect and enliven a dialogue that is sometimes polite, sometimes not so much, a Wes Anderson influence runs through Matthew Rankin’s feature film from beginning to end. As in Anderson’s films, Rankin is interested in exploring the reality of his film, a reality full of idiosyncrasies that serve as fertile ground for comedy. An angry teacher in a classroom yelling at students, one of whom claims a turkey stole his glasses; another dresses up as Groucho Marx because he wants to be a comedian; and another as a fashionista. A freelance tour guide with odd choices for his tour, etc. With a comedy composed of wry, deadpan, and black humor, A Universal Language manages to be hilarious whenever it wants. There are many times when its events border on the absurd or surreal, fostering the comedy that bathes it but without undermining its goal of thought-provoking depth. Rankin’s skill manages to evoke a surreal dreamlike fable but also an expressive introspective melancholy. Elements and feelings that merge and give life to a special experience between places and times, realities and dreams. For example, in the reality of the film, even if we are in Canada, French, let alone English, seems to be a second language, and in its place is Persian. Everyone talks about it, and it is written on posters and billboards that make its result something close but far away, known and unknown that intertwine in a new culturally and demographically blind reality. In cinematic terms, often similar to Anderson’s, more in framing and movement than in color palette, there is a constant will to inhabit the spaces where the characters are. The camera is sometimes static from a distance, observing their movement and how it affects the environment rather than focusing on their faces and expressions with close-ups. It is as if the place is as important as the characters to tell the story, and Rankin wants to make sure that we delve into it like tourists in a foreign country. And while we may know these cities by name, in the framework of the film and its demographic profile unmatched by our knowledge, there may be reasons to delve into these spaces.
