Une langue universelle 2024 H264.WEBRip Magnet Download
14/47
An absurd triptych of seemingly unrelated stories find a mysterious intersection in this tale, somewhere between Winnipeg and Tehran. Canada’s official submission for the “Best International Feature Film” category at the 97th Academy Awards in 2025. These Eyes Written by Randy Bachman and Burton Cummings Presented by The Guess Who. From the cinematography and the usual search for symmetry, in static or traveling shots, and a pleasant aesthetic, with a dreamlike atmosphere that enhances the universality of the settings, to the story revolving around the various characters as their lives intersect, sometimes politely, sometimes not. There is so much Wes Anderson influence that crosses Matthew Rankin’s character from beginning to end. As in Anderson’s films, Rankin is interested in exploring the reality of his film, a reality full of peculiarities that serve as fertile ground for comedy. An angry teacher yells at a class of students, one of whom claims a turkey stole his glasses; another dresses up as Groucho Marx because he wants to be a comedian; and another as a fashionista. A freelance tour guide with strange choices for the tour, etc. With a comedy of wry, deadpan, and dark humor, Une langue universelle manages to be hilarious whenever it wants. Its events often border on the absurd or surreal, further reinforcing the comedy that bathes it, but never undermining its goal of thought-provoking depth. Rankin’s skill is able to evoke a surreal, dreamlike tale, but also an expressive, introspective melancholy. Elements and feelings that come together and give life to a unique experience between places and times, realities and dreams. For example, in the reality of the film, even though we are in Canada, French, let alone English, seems like a second language, and in its place is Persian. Everyone speaks it, signs and billboards are written in it, resulting in something close but distant, familiar and unfamiliar, mixed together in a culturally and demographically blind new reality. As for the cinematography, which is often similar to Anderson’s, more about framing and movement than color palette, there is a constant will to inhabit the spaces where the characters are. The camera is sometimes static from a distance, observing their movement and how they affect the environment, rather than focusing on their faces and expressions with close-ups. It is as if the place is as important to the telling of the story as the characters, and Rankin wants to make sure that we immerse ourselves in it as tourists from a foreign land. And while we may know these cities by name, within the framework of the film and due to its unparalleled demographic profile to our knowledge, it may be worth delving into these spaces.