As a film enthusiast who has always been fascinated by the intersection of different cultures and cinematic styles, I find “Universal Language” to be a truly captivating work that perfectly encapsulates the fluidity of modern life. The blending of codes and realities, as Matthew puts it, is not just a reflection of our world but also a testament to the limitless potential of cinema when we dare to defy the simulacrum.
There’s an idea in the movie world that comedies don’t translate well across different regions because humor can be specific to a certain area. This view is that jokes might not resonate with audiences from other places. However, director Matthew Rankin has a higher opinion of viewers than that. His latest film, “Universal Language,” was chosen by Canada as their entry for the Oscars’ international feature category, but it may be hard to identify where it originates from.
In a fictional version of the Arctic, Tim Hortons outlets have transformed into Persian tea houses, while Quebec remains French as ever. This alternate universe is where the primary language is Farsi, according to Rankin’s film. This creative scenario challenges conventional cinematic boundaries, offering an absurd yet compassionate perspective that has left festival-goers bewildered and enchanted since its debut in Cannes’ Director’s Fortnight section.
Though it may not be considered a politically-driven movie, there’s an element of radicalness in its actions, as Rankin points out during a Zoom conversation. A surprising aspect that caught our attention is the shared sentiment among Canadian and Iranian viewers who expressed feeling nostalgic upon watching the film. This discovery moved us deeply.
Rankin, hailing from Winnipeg, is on the line, surrounded by his two collaborators and co-writers, Ila Firouzabadi and Pirouz Nemati. The “Universal Language” project has been a decade-long labor of love for this trio, with its origins stemming from Rankin and Nemati’s time producing “propaganda films” showcasing Canada’s national parks. Similar to other international cinematic anomalies such as Jim Jarmusch’s “Ghost Dog: The Way of the Samurai” and Takeshi Kitano’s “Brother”, this group views their own film as part of a tradition that blends diverse cinematic inspirations.
The popular real estate brand Lord Rodney in Winnipeg is creatively transformed into “Rodney Khan” within the humorous scenes of “Universal Language,” while a mural of Justin Trudeau is embellished with Farsi words that translate to “a strong economy prevents feelings of worthlessness.” However, the humor hides a deeper, self-aware layer throughout the movie. This method is said to have been inspired by renowned Iranian filmmakers such as Abbas Kiarostami.
Rankin explains that there’s an intent to highlight the fact that there’s an aspect of pretense involved, using a metaphor from Canadian culture. He likens filmmaking in the West to a hockey game, where the camera follows the action like a puck, focusing on whoever is speaking at any given moment. However, in many Iranian films, the person listening becomes more intriguing than the speaker, suggesting a different approach or focus in storytelling.
Rankin adds, “It requires a bit of getting used to, but when you grasp its pattern and humor, it guides you somewhere fascinating.” He notes that not everyone catches on at the same point, making it intriguing when they do.
As a film enthusiast, much like Kiarostami often integrated himself into his films, I too step onto the screen in this production, sharing a piece of my personal journey. Firouzabadi and Nemati were firm that I should portray a fictionalized version of myself, whose narrative revolves around a poignant homecoming to Winnipeg to visit my mother. This storyline carries a heavy emotional weight, as I lost my parents amidst the devastating COVID pandemic.
Nemati remarks, ‘This spot is incredibly exposed, yet there was no other suitable candidate.’ He adds, ‘Performing is tough enough on its own, but performing in your native language that isn’t your first? It ramps up the challenge.’
Rankin chuckles and remarks, “That’s a new perspective you’re offering, for the first time I hear it.” He explains, “I joined the cast just like everyone else. In jest, I considered the possibility that another actor might portray me more convincingly. However, we decided that the story would be more vibrant if it was truly me embodying this fictionalized version of myself. Even the thought that I might not be the best fit to play myself seemed amusing.
Rankin wasn’t the sole fresh face on screen acting. Nemati takes on the role of a Winnipeg tour guide, a job that Rankin’s father used to do. Meanwhile, Firouzabadi portrays a rebellious bus driver. The majority of the cast consists of their family members, who were discovered to be natural in front of the camera for various reasons.
According to Nemati, what we found out is that teachers are outstanding actors. They’re constantly acting or performing in front of their students.
Firouzabadi explains that these individuals – family, community, friends – are collectively referred to in Farsi as “them,” using the term “و” (“ooo”). He further states that this movie is symbolically akin to “them” for them during both discussions about it and the writing process, as it represents an integral part of their collective experience.
Rankin finds it strangely accurate how this portrayal mirrors our daily lives. The interweaving of fiction and reality is something we all experience. Despite the world’s attempts to categorize everything neatly, our lives are far more dynamic and interconnected.
Speaking of “gender-neutral casting,” Danielle Fichaud makes a big impression early on in the film, growling as a Quebecois bureaucrat in drag. I found her scene to be a tuning-fork for the absurdist tone of the film. How did her casting come about?
RANKIN (PARAPHRASING): This actress is incredibly talented, as shown in the film “Aline” where she portrayed Celine Dion’s mother exceptionally well. I had her as a drama teacher years ago and found her absolutely captivating. She often employed explicit language when directing, which only added to her charm. Her mind has a certain naughty quality, but in the most endearing way. She is highly respected in Quebec, and there was no other actress we thought suitable for that role.
The film has such a cohesive style for an on-location production. It’s no surprise you’ve cited Jacques Tati as an inspiration. Could you discuss finding locations in Winnipeg that squared into the sharp visual design you conceived of?
RANKIN: I think the mall depicted in the movie is set for demolition. As I remember from the script, the fountain was supposed to erupt, but it turned out to be a $10,000 repair job to make that happen. The scene’s dynamics shifted due to practicality. Furthermore, the building with the zigzag staircase – there are many such buildings in Winnipeg, but gaining access to them was nearly impossible. In fact, we were only granted access to that specific one just half an hour before we were supposed to film.
We attempted several times. In the final attempt, everything ran smoothly – it was when I reached the top of the stairs that two young women emerged from the flat. Consequently, we… remained silent.
They felt like heading out for a night of clubbing, but it was our subtle homage to “Where Is the Friend’s House?” – represented by the winding staircase with its intricate pattern.
Matthew, I’ve read you expressing frustration with contemporary cinema and how it can feel siphoned off into different genres and cultures. Can you expand on how that belief squares with “Universal Language”?
PARAPHRASING: Rankin’s skepticism lies in seeing cinema as an imitation or representation of reality, which has been the predominant trend throughout its history, from silent films to digital enhancements for a more realistic viewing experience. However, he believes that acknowledging and embracing the artificiality of cinema opens up fresh creative avenues. This shift is mirroring in AI, video games, and virtual reality, leading to innovative forms of image-making. This is similar to how painting evolved when photography was invented – it was no longer confined to perfectly replicating reality. Instead, new artistic expressions emerged. Rankin anticipates a similar transformation for cinema. This experimental blend of styles, including Iranian poetic, Winnipeg surrealism, and Quebecois melancholy, is not just an artistic crossover but also a reflection of our collective existence.
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2024-12-06 00:17