Imagine Tim Hortons’ signage were comically flipped from right to left, or the face on Canada’s banknote replaced with the haunting image of Louis Riel before his hanging. Or if we were to picture Winnipeg strangely as Tehran. These are just a few of the surreal visual concepts that unfold in the delightfully absurd world of Matthew Rankin’s second feature film, Universal Language. Packed with sight gags, the film is also a melancholic melting pot of cultures, languages, and generations, serving as a heartfelt tribute to Rankin’s own identity. Also starring in the film as a bewildered tourist back in his homeland of sorts, adding a personal touch to what is ultimately a path inwards. Blending the eccentricity of Guy Maddin, the deadpan humor of Roy Andersson, and the unmistakable influence of Iranian cinema’s masters, Universal Language sets the high-bar for Canadiana on-screen.
I had the opportunity to chat with Agha Matthew Rankin at the 2024 Marrakech International Film Festival to briefly discuss a film with a lot of entry points for un-expecting audiences and the idea of melancholy in this specific example. Universal Language gets released by Oscilloscope Laboratories today.
