Name: Universal Language Review: A Peculiar Puzzle with a Powerful Message
Item: Universal Language
Author: Arash Nahandian

Universal Language takes us on a playful journey through the unexpected connections between people’s lives. The film transports the city of Winnipeg to an alternate reality where Iranian culture flourishes alongside familiar Canadian elements. Behind this imaginative setting lies a thoughtful exploration of cultural identity, belonging, and the ways our lives intersect.

Director Matthew Rankin crafts a world where children and adults alike grapple with finding their place. Young Negin and Nazgol set out to retrieve money from a frozen banknote, unwittingly drawing others into their endeavor. Their teacher’s frustrations hint at personal struggles beyond the classroom. And Matthew returns home, wrestling with how his hometown has changed during his time away.

Rankin weaves these characters’ stories together in winding yet poignant ways. Minor acts ripple outward, linking lives in surprising forms of serendipity. Cultural traditions blend with a sense of common humanity. And a feeling emerges that, however different people’s surfaces seem, shared experiences unite us on a deeper level.

With whimsical imagination and thoughtful insight, Universal Language invites us to see beyond superficial divisions. It celebrates our diversity while finding invisible threads that connect us all in the end. Through this playful yet meaningful exploration, Rankin crafts a borderless vision of compassion connecting varied lives in an ordinary yet extraordinary town.

Heritage and Homecoming

Universal Language weaves together numerous storylines that gradually intersect. At the forefront are two young girls, Negin and Nazgol, who discover an Iranian banknote frozen in ice. Eager to help their friend Omid replace his glasses, they embark on a quest to retrieve the money.

Their journey brings them into contact with many residents of the reimagined city. There’s Massoud, a tour guide who leads lackluster tours around Winnipeg. Though passionate about local history, he seems uninspired by the city itself. We also follow Matthew, a man returning home to care for his ailing mother. However, he finds his childhood home now occupied by strangers.

Director Matthew Rankin plays with timelines, looping between the past and present. We glimpse pivotal moments that shaped these characters before understanding their full context. Only later do we see how their stories connect in ways both subtle and profound.

Rankin’s style fosters a sense of discovery. Scenes are presented like pieces of a puzzle, with their significance not being clear until other parts are revealed. Unlike traditional linear storytelling, this invites active viewer participation in uncovering the film’s deeper layers.

Central among the characters are the spirited Negin and Nazgol. Though young, they display kindness and community spirit by aiding their friend. Their quest introduces the world of the film and piques our curiosity about the others they encounter.

Massoud loves sharing local history but seems resigned to lackluster audiences. Amid his less-than-riveting tours, we pick up on loneliness and a yearning to spread appreciation for his homeland’s roots. When others view his work as quaint, he alone sees value in preserving the past.

For Matthew, returning conjures mixed emotions. While seeking closure with family, he finds an unfamiliar place has replaced childhood comforts. Rankin pulls at thorny issues of cultural identity and how drastically environments—and ourselves—can change with time. Matthew’s story exemplifies how home is as much perceived as physical space.

Together, these characters, though seemingly disparate, represent interconnected questions of belonging, memory, and how cultural roots define, yet sometimes confine, us. In them, Rankin finds poignancy amid the everyday and muses on what truly makes a community.

Weaving Dreams on Screen

Matthew Rankin draws from rich inspirations in the Universal Language. Viewers see influences throughout his love of Iranian films.

A focus on themes we find there, like exploring what home and belonging mean, gives the story depth. Young characters Negin and Nazgol feel this as they set out to help their friend Omid. Their journey introduces others wrestling with similar questions.

Rankin introduces us to his dreamlike version of Winnipeg through visuals borrowed from masters. Muted, bleak palettes echo Roy Andersson’s ability to find beauty in melancholy. Static shots compose scenes like intimate frames, just as Wes Anderson does.

Things initially seem ordinary, but surreal details emerge. A turkey stole Omid’s glasses. A man strolls down streets wrapped in a Christmas tree. Rankin intentionally disorients with absurdity.

This challenges the viewers’ expectations. We’re unsure where the director leads us. Only by surrendering to this world do we see connections between characters and their searches for a place. Patience reveals Rankin quietly shares profound thoughts on belonging beneath the unusual surface.

His style wouldn’t be out of place in Kiarostami’s works either, sparking reflection with only glimpses at first. Layer by subtle layer, meaning emerges, much like peeling an onion. In the end, we find a moving story.

By blending cinematic masters’ techniques, Rankin weaves his own rich tapestry. He invites audiences on a dreamlike journey to find something truly universal—that shared human experiences can overcome any borders between us.

Reconnecting with Place and People

Many in Universal Language grapple with finding where they fit. Matthew Rankin weaves this theme into the film from start to finish through characters experiencing it in their own ways.

We first see this in Negin and Nazgol, curious kids exploring who they are. When they discover the trapped banknote, their journey shows a desire to help others—tto connect. Other storylines take shape too, showing that this search for belonging comes in all forms.

Massoud, the tour guide, seems unsure what to make of his hometown. Leading bored visitors to parking lots and overpasses, it’s like he’s lost sight of what makes the place meaningful. And for Matthew, returning sparks complex feelings.

Going back expects to find comfort in memory, but life has changed what was once familiar. His old home now houses strangers, cutting deep in a moment where he needs stability most. Everything feels disjointed in a time meant for reunion.

Yet what connects these separate stories is how Rankin brings them together through coincidence. We come to see lives constantly intersecting in small, surprising ways, whether people realize it or not. Their experiences ultimately link in a subtle, stirring way by the end.

Along the journey, beauty emerges in unexpected places and people. From acts of simple kindness to artistic expression, characters find their belongings missing in other areas of their lives. And through it all, Rankin’s gentle direction reminds us that we’re all part of something greater, no matter where we’re from or what we call home. Sometimes rediscovering is as much about rediscovering each other as.

Culture Crossing With Care

Matthew Rankin brings a thoughtful edge to universal language through his exploration of culture. Most know little of everyday life in Iran, just as Iranians understand less about places like Winnipeg. But Rankin crosses this divide in an illuminating way.

His interest in Iranian cinema shapes how he presents this world. Scenes feel lifted from the best of its films, honoring their realism. Yet he reimagines this culture within Canadian streets, finding connections in unfamiliar places. Locals shop in teahouses and talk of life in both lands.

Rankin avoids discussing his subjects. Persians speak perfect English too, showing shared humanity beyond borders. Through their adventures, young Negin and Nazgol drive home this point with spirit and care for others. And his casting of Iranians rejects stereotypes, letting characters feel fully formed.

Cultural norms shift in this reenvisioning as well. But changes feel more inclusive than strange. Though signs are read in Farsi, traditions from both societies intermix naturally. Neighbors respect each other’s beliefs as fellow residents, working and playing side by side.

Rankin spotlights our shared hopes dwelling within diverse peoples worldwide. His leads grapple with questions many can relate to: finding one’s place, reconnecting with family, and living with purpose. Universal stories are celebrated over divisions of language or geography.

By lending authenticity to a lifestyle abroad while transplanting it innovatively, Rankin starts a dialogue. He challenges the view that “foreign” means incompatible with the familiar. And in depicting varied characters with equal care, the filmmaker spreads thoughtful insight into cultural understanding.

Unforgettable Moments That Cross Cultures

Certain scenes in Universal Language really stick with you after watching. A few stand out for how Rankin meshes cultures in imaginative ways. Early on, the classroom introduces us to the teacher’s frustrations, foreshadowing connections between characters. You get a sense of students feeling put down and hoping for more understanding.

Another is when Negin and Nazgol first spot money frozen in ice. Their quest begins, leading them down unexpected paths. It says so much about kindness without words, as they aim to help Omid simply out of care for a friend. You also see neighborhoods come together through small acts of goodwill, whether loaning tools or pointing travelers right.

One scene that really lingers happens later. Negin and Nazgol happen upon Matthew wistfully playing a santoor, a traditional string instrument. Something about the music swelling in that moment—characters united through beauty found across borders—gives you pause. Matthew seems lost navigating a home changed partly by outside cultural impact, but finds solace in shared humanity.

The film shows how culture isn’t fixed but is living and changing through exchange. Rankin highlights our ability to appreciate life, wherever we are, through simple pleasures like music. Even when displaced in some way, there’s comfort in togetherness and traditions evolving inclusively. These moments remind us of all the hardships in the world; connections between people can offset that through compassion. They make Universal Language so poignant, and the exploration of culture’s impact is well worth the experience.

Connecting Across Borders

Well, now, after unpacking all those stories and characters in Universal Language, there’s certainly a lot to take from Matthew Rankin’s exploration. At its core, this film celebrates how, regardless of where we come from, we’re all searching for the same things: purpose, belonging, and understanding.

Rankin weaves together different lives to show just how connected we can be in little ways, whether it’s through small kindnesses between strangers or finding meaning in simple things like music. Even when culture or geography might seem to separate us, our shared humanity always connects us in the end. Things like compassion know no borders.

It’s impressive how he crafts such an imaginative world where every detail, from the locations to the performances, enriches the viewer’s experience. Rankin clearly pours so much passion into sharing perspectives we may not otherwise see. He doesn’t just want to tell stories; he wants to start important conversations and encourage us to think beyond surface differences.

It’s clear this is a director with a gift for challenging norms in visual storytelling too. I expect Rankin will only get better at blending surrealism with heart in ways that surprise and stay with you. If Universal Language is any sign of what’s to come, he’ll no doubt continue crafting poignant, memorable works that leave their mark.

Overall, this film proves that when we open our eyes to each other’s lives, we can find there is far more that unites than divides us. Rankin’s message of shared humanity is one that could help connect many hearts. I think this is an important vision, and I look forward to seeing what boundaries his future works may cross.

The Review