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Nominated for the 97th Academy Awards in 2025

Story

An absurd triptych of seemingly unrelated stories finds a mysterious point of intersection in this tale set somewhere between Winnipeg and Tehran. Canada’s official submission for Best International Feature Film. These Eyes Written by Randy Bachman and Burton Cummings Performed by The Guess Who.

so much so, the influence of Wes Anderson permeates Matthew Rankin’s feature from beginning to end

From the cinematography and the usual search for symmetry, static or moving shots, and a pleasant aesthetic with a dreamy atmosphere that enhances the universality of the setting, to the story revolving around different characters, how their lives intersect and animate dialogue, sometimes polite, sometimes not. As in Anderson’s films, Rankin is interested in exploring the reality of his film – a reality full of peculiarities that are fertile ground for comedy. An angry teacher in class yelling at his students, one of whom claims that a turkey stole his glasses; another dressed as Groucho Marx because he wants to be a comedian; and another as a fashionista.

A freelance tour guide with his strange travel choices, and so on

With a comedy that consists of grim, dark and dark humor, Une langue universelle manages to be funny every time it wants to be. There are many times when its events border on the absurd or surreal, which encourages the comedy it exudes, but never diminishes its purpose of encouraging thought. Rankin’s dexterity 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, reality and dreams

For example, in the reality of the film, even though we are in Canada, French, let alone English, seems to be a second language, and in its place is Persian. They can speak it, and the signs and billboards are written in it, and the result is something close but distant, familiar and unfamiliar, mixed with a blinding new reality from a cultural and demographic perspective. In terms of cinematography, which is often Anderson-like, more about framing and movement than color palette, there is a constant desire to inhabit the spaces the characters are in.

The camera is sometimes static from a distance, watching them move and how they affect the environment, rather than focusing on their faces and expressions in close-up

The setting of the narrative seems as important as the characters, and Rankin wants to make sure we delve into it like tourists in a foreign land. And while we may know these cities by name, within the framework of the film and its demographic profile, which is unmatched by our knowledge, there may be reasons to delve deeper into these spaces.