Universal Language (2024)
Screening at the 2024 Cannes Film Festival, Matthew Rankin's newest feature film, Universal Language, is a delightful trip as numerous characters see their individual dramas overlap and connect, creating a rich quilt of smaller stories and charm. From two young children who set out to find a tool they can use to break an Iranian banknote out from a frozen block of ice to a prized turkey taking a bus to reach the local turkey butcher, the film is filled with quirky concepts and dry jokes with a healthy inspiration of Iranian cinema creating a viewing experience unlike any other.
Using a style that blends ideals of Iranian cinema with the crafted hand of Wes Anderson, the visual language and texture of Universal Language are among the film's biggest highlights. Universal Language's setting and style see a mash-up of various cultures and identities which the director describes as a "cinematic Venn diagramme between Winnipeg, Tehran and Montréal". The cinematography by Isabelle Stachtchenko and production design from Louisa Schabas work together with Rankin's directorial hand to craft a feature that balances both coldness and undeniable warmth. Every visual choice is precise. Similar to the works of Wes Anderson, the sets are so meticulously clean that there is something artificial seeming about them without ever leaving the realm of reality. What brings these fictional clean locations to life is the human spirit present within the film.
The cast of characters who are followed throughout Universal Language are irresistibly personable and charming. Even in their faults and attitudes, the screenplay's quirkiness and comedic ability shine bright in giving its characters an innocence and charm. The film has a longing for human connection and understanding that is rather beautiful. Universal Language is a film about those of all backgrounds and identities coming together and finding value in each other's presence. While the film might not shoot overly deep with this conversation, the sheer presence of this emotional backbone is enough to have the film grow on audiences and warm their hearts. The film is a warm hug; something tragically missing from much of the cinematic landscape.
This is all based on a foundation that feels authentic. These characters feel lived and real while the world feels seen and developed. Even when the film embraces weirdness, it is consistently focused on humanity and the truths found within it. This speaks to the strength of the filmmakers who developed a voice and narrative that balances these two sides perfectly. While one could find comparisons between the film and the works of other filmmakers like Anderson or even Quentin Dupieux, the truth is that the film feels uniquely Matthew Rankin, an exciting truth to see within any filmmaker's work. Equal praise has to be handed to the performers in front of the camera who also understand their place in this effort and dance between their roles with comedy and quiet drama well.
While this world is engaging and the quiet beauty of the film is unmistakable, it does feel like the 89-minute runtime is sometimes stretched somewhat thin. Especially around the center of the film, it can feel like the momentum the film finds naturally from its style runs a bit dry with the feature failing to expand the narrative enough to maintain its compelling movement. Whether it could come from leaning into the film's absurdity to raise the stakes of what was being presented or tackling a more substantial thesis, it feels like the film needs to reach its second gear quicker than it truly does. This can make some portions feel somewhat slow. While the film is never tedious, it does feel clear that adding a little more fire would help keep the audience engaged.
When all is considered, Universal Language is a fantastic showcase for the talents of Rankin who is sure to grow and hone his craft with more experience. The film has such a unique and effective visual eye that blends with a clever and worthwhile screenplay to create an infectiously charming film.
Using a style that blends ideals of Iranian cinema with the crafted hand of Wes Anderson, the visual language and texture of Universal Language are among the film's biggest highlights. Universal Language's setting and style see a mash-up of various cultures and identities which the director describes as a "cinematic Venn diagramme between Winnipeg, Tehran and Montréal". The cinematography by Isabelle Stachtchenko and production design from Louisa Schabas work together with Rankin's directorial hand to craft a feature that balances both coldness and undeniable warmth. Every visual choice is precise. Similar to the works of Wes Anderson, the sets are so meticulously clean that there is something artificial seeming about them without ever leaving the realm of reality. What brings these fictional clean locations to life is the human spirit present within the film.
The cast of characters who are followed throughout Universal Language are irresistibly personable and charming. Even in their faults and attitudes, the screenplay's quirkiness and comedic ability shine bright in giving its characters an innocence and charm. The film has a longing for human connection and understanding that is rather beautiful. Universal Language is a film about those of all backgrounds and identities coming together and finding value in each other's presence. While the film might not shoot overly deep with this conversation, the sheer presence of this emotional backbone is enough to have the film grow on audiences and warm their hearts. The film is a warm hug; something tragically missing from much of the cinematic landscape.
This is all based on a foundation that feels authentic. These characters feel lived and real while the world feels seen and developed. Even when the film embraces weirdness, it is consistently focused on humanity and the truths found within it. This speaks to the strength of the filmmakers who developed a voice and narrative that balances these two sides perfectly. While one could find comparisons between the film and the works of other filmmakers like Anderson or even Quentin Dupieux, the truth is that the film feels uniquely Matthew Rankin, an exciting truth to see within any filmmaker's work. Equal praise has to be handed to the performers in front of the camera who also understand their place in this effort and dance between their roles with comedy and quiet drama well.
While this world is engaging and the quiet beauty of the film is unmistakable, it does feel like the 89-minute runtime is sometimes stretched somewhat thin. Especially around the center of the film, it can feel like the momentum the film finds naturally from its style runs a bit dry with the feature failing to expand the narrative enough to maintain its compelling movement. Whether it could come from leaning into the film's absurdity to raise the stakes of what was being presented or tackling a more substantial thesis, it feels like the film needs to reach its second gear quicker than it truly does. This can make some portions feel somewhat slow. While the film is never tedious, it does feel clear that adding a little more fire would help keep the audience engaged.
When all is considered, Universal Language is a fantastic showcase for the talents of Rankin who is sure to grow and hone his craft with more experience. The film has such a unique and effective visual eye that blends with a clever and worthwhile screenplay to create an infectiously charming film.