Final Rating: 3/5
Ed. note: read out original review of Universal Language by Jeff Bulmer from TIFF 2024.
Universal Language, director/star/co-writer Matthew Rankin’s homage to Winnipeg is a quirky dramedy set in a fictionalized version of the city, and chalk full of local references. Rankin co-wrote the script (which is in French and Persian) alongside Pirouz Nemati who plays Massoud, a local tour guide, and Ila Firouzabadi. He plays Matthew, an everyman who is leaving his government job in Quebec, (The most neutral experience of his life) and his boss (who is sure to inform us he voted ‘yes’ in the 1995 separatist referendum) to return home to Winnipeg and reconnect with his estranged mother.
We also follow the lives of several students and (briefly) their acerbic teacher Mr. Bilodeau (Mani Soleymanlou) who sees little faith in their future, and is not shy about reiterating that sentiment. When asked, their dreams vary from tour guide, to diplomat, to Groucho Marx knock off, and a donkey breeder, so perhaps we understand why he’s underwhelmed.
There is certainly plenty of Canadiana mixed in, such as Tim Horton’s (complete with vintage logo), Old Dutch chips, a Guess Who song reference, the currency being Riel’s after Manitoba Métis leader Louis Riel, at one (blink and you miss it) point the kids sweep a stone along some ice in curling fashion, and a running joke that Quebecers are unfamiliar with the geography of the rest of Canada.
Early on we learn that one of the boys at school Omid (Sobhan Javadi) has lost his glasses (after a turkey startled him), and since he cannot read the chalkboard the teacher punishes the entire class until such time as he can. When walking home later that day, Negin (Rojina Esmaeili) happens upon 500 Riel’s frozen in ice, and sets about trying to get it out so she can get him a new pair. Along with her sister Nazgol (Saba Vahedyousefi) they traverse the various districts, encountering numerous local characters including a turkey salesman and Massoud, who, when not guiding his tours to such exotic locals as the mall, are of varying degrees of help.
The snow-capped scenery of Winnipeg is very bland, and many of the shots are framed in a very Wes Anderson manner, minus the bright flourishes as the city’s various districts (gray, brown, and beige) are (to state the obvious) not particularly colourful. The characters often speak in a manner reminiscent to his films as well. This is mostly epitomized by the film’s quirky sense of humour (ie: avian beauty pageant winning turkeys) stemming from these offbeat asides, and matter of fact dialogue delivery. Much like Anderson’s various projects it will work better for some than others, but is a reasonable place to start were you looking to describe the sense one derives from it.
The multi-plot style introduces a number of characters, but we only really gain more than a brief glimpse into several of their lives. It (mostly) follows Matthew, and while there are sporadic moments of interconnection between the characters, at least until the end, (as Massoud says “We are all connected agha.”), none are really aware of how much so as they carry on with their own lives. These stories play out, but never seem to have a specific overarching plot that truly draws you in, and while the performances are good, the characters themselves never get enough time to really bring out a great deal of depth, rather a glimpse into their lives with a modicum of back story to shade them in.
Massoud has taken Matthew’s mother in after his father’s passing and we never truly get an understanding of why they became estranged, but with her failing health he is saddened to have not been there sooner. Massoud has also taken the 500 Riel’s the girls were after and they question him about it, and his decision weighs on him. While it doesn’t establish the plot enough to exceptionally resonate emotionally, there are several poignant moments and laughs (particularly early on) that play well. It’s the kind of movie that will fare better with Canadians in terms of the references, but not so much that it is too esoteric for a general audience, and the kind of film that much like a double double, pleases a regular crowd.
Thank you to Route504 for the screener.
