TIFF feature: Matthew Rankin's Universal Language

After submitting two subpar documentaries the past two years (sorry, Rojek and Eternal Spring), Canada has finally chosen an international submission I can get behind. Universal Language was just recently chosen as Canada's submission for the 97th Academy Awards and I couldn't be more thrilled that they have decided to step out of the box a bit with this comedy that is absolutely and perfectly absurd.

Yes, I know, we are a website that focuses on shorts, but sometimes we can't help but talk about some feature films as well. TIFF always brings some new and fresh features to the scene and Universal Language is of my favourites I have seen all year. Universal Language is not only Matthew Rankin's second feature film, but he has familiarized himself to us with his short films over the past few years as well. In 2017, Matthew Rankin brought his short film The Tesla World Light to TIFF. It went on to get an honourable mention for Best Canadian Short Film at TIFF and won Best Animated Short Film at the 6th Annual Canadian Screen Awards in 2018. In 2022, he premiered his short film Municipal Relaxation Module at TIFF. Although I have been attending TIFF since 2015, TIFF 2022 was the first time I dove into the short film programs. Municipal Relaxation Module really opened my eyes to the potential of what great short films can be and accomplish. In just 6 minutes, Rankin used experimental film-making to a comedic effect as he introduces the character of Ken through a series of his voicemails to the government about an idea for a park bench. Some of that same bureaucratic energy and influence from this short can be seen in Universal Language: the Quebec separatist politics, a tour guide needing a permit to look at a no-longer-functioning mall fountain, yet another bench, this time with a forgotten briefcase.

Universal Language imagines a Canada where the predominant language is Farsi. Mainly taking place in Winnipeg, the city becomes steeped in Iranian culture, blending perfectly into Canadian mainstays and history. Even Canadians who might have trouble getting into a film that is as experimental and absurd as this will love pointing out all of the Canadian easter eggs. For example, an 80s Tim Horton's sign and memories of ordering a double-double and trying to convince someone else to pay for theirs. Some of the humour may be lost to those outside of Canada. Not everyone will inherently understand the Quebecois political jokes, the mix up of Manitoba and Alberta, and the perceived banality of Winnipeg (a comedic leg much of the movie stands on). But as someone born and raised in Canada, I loved it and laughed to myself the next day or two thinking about it.

What I may have enjoyed most about Universal Language is that no character is wasted. Every character has its place and reason, and they are all interconnected. I found myself creating family trees and stringing together maps in my mind to complete the story. The film is cyclical and full circle; all the absurd events happening somehow make sense.

Stylistically, you can see the influence of film makers like Wes Anderson right from the very opening scene, shot from outside the school. More importantly, this film was born out of Matthew Rankin's love for Iranian cinema in fables such as Where is the Friend's House? and his trip to Tehran when he was 21 to seek out the Iranian masters of film who inspired him. All these influences come together to create the beautifully blended Iranian-Canadian community you meet in this film.

Although niche in its humour, Universal Language is just as its name suggests, universal. Whether it be the child-like wonder of finding a treasure and the adventure of retrieving it, the ache of wanting to be closer to your loved ones, or the feeling that you have been replaced, there is something for everyone to relate to in it.

Review by: Brandon MacMurray