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Review: In a Winnipeg few will recognize, “Universal Language” speaks from a deep well of humanity

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Explore this imaginative four-star tour of an unconventional Winnipeg, a place perhaps never seen before. The biting, humorous play “Universal Language” captures the gusty winds, snowfall, and monotony often associated with Manitoba, particularly for those yet to visit. Unique neighborhoods like Brown, Gray, and Beige are prevalent, but the store signs – even at Tim Hortons – are inscribed with Persian characters. Remarkably, every character communicates solely in Persian, with no trace of English, not even “Do you speak English?

Matthew Rankin, a Canadian history scholar, transitioned from academia to the world of art, much like fellow town icon Guy Maddin. It seems there’s something unique about the cold waters or perhaps the video stores in Winnipeg that inspires such peculiar homages to their native land. Or maybe it’s just the influence of their local environment. Their artistic influences are rooted in silent filmmakers and surrealists like F.W. Murnau, Fritz Lang, and Luis Buñuel. It appears they never aspired to be like Steven Spielberg, and perhaps they haven’t even seen his films.

In simpler terms, Rankin’s debut movie titled “The Twentieth Century” was a fantastical portrayal of the life of former Canadian Prime Minister, William Lyon Mackenzie King. Being an American with limited knowledge about him, I found myself bewildered by the bizarre scenes involving shoe-sniffing and seal-hunting that seemed to be central themes in the film. Rankin humorously referred to it as a blend of a Canadian historical minute and a psychedelic journey similar to ayahuasca experiences.

“Universal Language” can seem less flamboyant yet equally enigmatic. (It’s apparent Rankin has a particular fondness for women sporting neat mustaches.) The interwoven narratives predominantly unfold on the unusual day of February 29, a fittingly elusive backdrop. The atmosphere is lean and minimalistic – and humorous, if one finds amusement in snickering at someone whose sons perished in a marshmallow-eating contest, or chuckling over the sobs of an employee weeping in their cubicle for reasons left unspoken.

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2024’s standout films, as per Amy Nicholson, are ‘Anora,’ ‘Smile 2,’ ‘A True Agony,’ ‘The Fruit of the Sacred Fig’ and ‘Dune’s Sequel: Part Two.’ (Note that I’ve used ‘standout’ to convey the idea of being exceptional, ‘as per’ for indicating that the information comes from Amy Nicholson, and ‘our critic’ to refer to her without directly mentioning her name. Additionally, I replaced ‘the best’ with ‘standout’ as it sounds more engaging and less definitive.)

On these frigid plains, the adults appear weary while the children show resilience as they tread through the snow with the same struggles faced by all. The siblings, Nazgol (Saba Vahedyousefi) and Negin (Rojina Esmaeili, a remarkable scowler), are on a quest to locate an ice pick to chisel money out of a frozen puddle. They require this sum to purchase eyeglasses for a friend who lost his in a scuffle with a turkey.

In other parts of the city, tour guide Massoud (Pirouz Nemati) faces challenges engaging tourists with his favorite Winnipeg attractions: an abandoned shopping mall, a residential building where numerous unrecognized individuals have resided, a bus stop seat that’s been there since 1978 due to being left behind, now recognized as a UNESCO World Heritage Site symbolizing Inter-human Empathy and Solidarity.

The UNESCO speech maintains an even tone similar to other parts, almost like another witty commentary. However, that briefcase encapsulates the film’s essence. Actions of compassion are more effective in fostering unity than official documents and immigration controls. Massoud stops at a statue honoring Louis Riel, a 19th-century Canadian revolutionary with mixed French and Indigenous ancestry who was executed for leading an uprising for civil rights. Riel is indeed historic; he’s a significant figure in Manitoba’s history, as referred to by a Winnipeg blog. But Rankin not only depicts Riel on the film’s currency but also on its fictional money – a creative decision symbolizing both a joke about Iran’s currency, the rial, and the recognition of Riel’s bravery as worthwhile.

A ‘Universal Language’ doesn’t tell an alternate tale of Winnipeg’s history. Instead, it only hints at its past in passing comments. For instance, a turkey vendor (Bahram Nabatian) proudly shares that his family has resided in Manitoba for 90 years; meanwhile, a young parent (Dara Najmabadi) reminisces about the ice cream stand where his parents fell in love.

In this revamped version of Winnipeg, some viewers might find it provocative, as traditional Tim Hortons establishments seem to offer tea in samovars instead of their usual coffee, with street vendors selling donuts that are artistically arranged, reminiscent of those found in Tehran. Rankin does not debate these demographic shifts, and the film does not explicitly mention immigration. Upon careful viewing, I could locate only one instance of cultural tension: a woman struggling to fold a stiff, frozen baby onesie after bringing it in from the snow.

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The movie appears to have been carefully planned out and organized, much like a meticulously arranged manila folder. Every scene is neatly structured, featuring a monotonous palette of grey-beige tones. (Editor Xi Feng transitions from cold, brutalist architecture to a dull cafeteria tray.) Cinematographer Isabelle Stachtchenko prefers to keep the camera steady and only moves it with intent – her movements seem fluid and graceful, like a practitioner of tai chi. The calmness never slows down the pace, as she holds shots just long enough to capture every subtle, humorous detail: a store filled with gravy-like soda bottles, a child dressed like Groucho Marx, a man concealed within a pink Christmas tree who laments, “My misfortune knows no end.

As a devoted cinema enthusiast, let me share my take on the intriguing narrative twist in this film: All of a sudden, without any prior indication, the movie transports us from one city to another, rewinding the clock by a day. Caught off guard, I found myself in Montreal, encountering Matthew (Rankin), a key character, during his decisive moment when he decides to leave his job in Quebec and head back to Manitoba, his birthplace. This long-absent Winnipeg native is taken aback to discover that his mother (Danielle Fichaud) has relocated homes and formed a new bond with a Persian family.

In a different phrasing, Rankin portrays himself as an outsider, a solitary figure dealing with depression and the sole Caucasian lead character. Interestingly, Matthew in the movie also speaks Persian, but the film doesn’t explicitly reveal his intentions. Is it Matthew’s heritage or his personal aloofness that causes him to feel disconnected from his homeland? The conclusion of his storyline presents a puzzling creative choice that hints at the unspoken issue: who truly fits into this community. I believe Rankin uses his own uncomfortable persona to convey that belonging isn’t something you are born with, but rather it’s something you earn through action.

Rankin stated he crafted the movie in Persian as a tribute to the early masterpieces of Abbas Kiarostami and the Iranian New Wave of the 1960s and 1970s, which emerged far from “Jaws.” While we can trust his statement, it’s also worth noting that language is a significant concern in Canada. The French-speaking Quebec often ponders independence from the English-speaking provinces. In Montreal, there’s a common joke suggesting that people are unaware of the rest of the country – this jest carries a sharp point regarding real-world politics. However, Rankin’s film raises an implicit question: Is it important what Canadians speak, if they’re open to communicating?

In “Universal Language,” the concept is frozen in place, eliminating dialogue entirely. Just like his favorite silent film directors, Rankin understands when words aren’t necessary. One sequence unfolds at a bustling cat cemetery, where a large funeral for a feline takes place. However, the cacophony of passing vehicles drowns out any mourner’s audible expressions. This represents people who are too busy to take a moment and appreciate their surroundings.

Even more touching is a silent sequence showing Matthew reaching his humble childhood home, now inhabited by a Persian family. They warmly invite him in as if he’s a special guest. Accompanied by a melodious blend of ethereal synth notes and twanging banjos, Matthew discovers growth measurements on the wall as these parents dote on their newborn. Despite the lack of words, the scene conveys a powerful message: This is how you make strangers feel at home.

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2025-02-14 02:32

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