‘Universal Language’ Speaks in Snow, Silence, and Soul
EP01 of the podcast is out
Matthew Rankin’s Universal Language is a cinematic snow globe shaken gently, then left to settle into something quietly profound. Set in an imagined Winnipeg where Farsi and French are the official languages, the film doesn’t just play with multiculturalism—it builds a tender, surreal world around it and crafts a cinematic tapestry that is as idiosyncratically Canadian as it is globally resonant—a film that could only have emerged from the peculiar cultural crucible of Winnipeg.
Rankin, whose earlier shorts like The Tesla World Light and Mynarski Death Plummet then feature The Twentieth Century felt like history class on psychedelics, directs with a soft absurdity and clear love for cinema—particularly the Iranian New Wave. You can feel Abbas Kiarostami’s ghost in the pacing, in the way silence and space are allowed to speak. This linguistic and cultural inversion is not merely a whimsical choice but a deliberate strategy to examine themes of identity, belonging, and the universality of human experience. With Rankin it is through a lens that is both satirical and deeply human.
What gives the film its strange, human warmth is Rankin’s use of nonprofessional actors. Their presence feels lived-in, never forced. The awkwardness is the point. The emotional clarity sneaks up on you. Through these non-professional actors, the film is infused with a sense of authenticity and immediacy. The performances, marked by a naturalistic delivery and an understated emotional depth, anchor the film's surreal narrative in a relatable human context.
Visually, the film is a winter daydream—symmetrical, painterly, but never cold. Cinematographer Isabelle Stachtchenko shoots Winnipeg like she’s documenting a new planet. And in a way, she is. Winnipeg has long been a nucleus of Canadian cinematic weirdness—Guy Maddin fans will feel right at home (aside from Rumours, the worst film of 2024). Winnipeg's stark winter landscapes with a palette that oscillates between the bleak and the whimsical has an aesthetic that is reminiscent of Jacques Tati's meticulous compositions and Wes Anderson's stylized symmetry—creating a world that is at once familiar and alien.
Winnipeg's cinematic history, often overshadowed by Canada's larger urban centres, finds a compelling voice in Rankin's work. The city's unique blend of cultural influences and its stark, often unforgiving landscapes provide a rich backdrop for a narrative that is both deeply personal and universally resonant.
Universal Language has won awards from Cannes to Vancouver to Melbourne, but it wears its brilliance lightly. This is a uniquely Canadian film—not in the “heritage minute” way, but in the way it lets contradiction and coexistence live side by side.
Universal Language is a testament to the filmmaker’s distinctive vision but also a work that challenges and expands the boundaries of Canadian cinema. It's a film that speaks in many tongues but resonates with a singular, profound voice. I find myself asking if this film could have been made by another country. Are we finally celebrating our unique Canadian filmmaking voice?
Rankin isn’t here to dazzle. He’s here to invite you in. And if you’re patient, the film opens up like a book of quiet poems—ones you didn’t know you needed translated.
In Episode 1 of the No Good Movies podcast, Keetha and I discuss this film, which can be found AT THIS LINK or you can review the summary in text below.
-Jared
Summary
Jared and Keetha Mercer discussed recent events, including their attendance at Hot Docs where they saw "Apocalypse in the Tropics" and "The Dating Game," and Jared Mercer's viewing of Canadian films "Balestra" and "Paying for It." They then introduced their new podcast, "No Good Movies," focused on reviewing Canadian cinema, with Jared Mercer providing a more experienced film perspective and Keetha Mercer offering a general viewer's viewpoint. The main focus of their discussion was the Canadian film "Universal Language," its surreal humor, cultural blend of Winnipeg and Iranian elements, and its multiple nominations for the upcoming Canadian Screen Awards, with Jared Mercer and Keetha Mercer debating the importance and reception of culturally specific references in art.
Details
Recording Start and Puppy Issues Keetha Mercer mentioned trying to distract their puppy from biting them or pillows. Jared Mercer recalled a previous recording attempt where the puppy damaged a rug. Keetha Mercer provided the puppy with a collagen bone. Jared Mercer asked if Keetha Mercer had walked the dog beforehand, and Keetha Mercer confirmed they had. Keetha Mercer explained the puppy was restless due to not being allowed at the muddy dog park. Jared Mercer mentioned their cat meowing and experiencing audio feedback (00:00:00).
Audio and Weather Conditions Keetha Mercer adjusted their headset to improve the sound. Jared Mercer noted occasional feedback. Jared Mercer remarked on the rainy weather in Toronto after the Maple Leafs were eliminated from the playoffs. Keetha Mercer recalled hearing that the last time spring was this cold, the Leafs were in the finals. Jared Mercer mentioned the abundance of hopeful fan theories among Maple Leafs fans, comparing them to Taylor Swift fans finding hidden meanings (00:01:07).
Maple Leafs' Playoff Performance and Local Events Jared Mercer joked about the Maple Leafs' consistent playoff losses. Jared Mercer hoped the Calgary Flames might improve if they acquired good players like Marner. Jared Mercer shifted the conversation to local events, mentioning a past discussion about hot dogs and a Brazilian movie (00:02:12). Jared Mercer mentioned an opening at Cooper Cole featuring video artist Sarah Cwynar but decided to stay home due to the rain (00:03:15). Keetha Mercer expressed interest in the Bentway's new kickoff event, Sun Shade, on May 23rd, featuring art installations (00:04:06).
Upcoming Events and Hot Docs Film Festival Jared Mercer considered attending the Bentway event if it wasn't raining. Jared Mercer announced the next Canadian film screening, Bonjour Tristesse, at the TIFF Lightbox on May 24th (00:05:03). They planned to watch the 9:30 showing in the cinema. Jared Mercer then steered the conversation back to hot docs and Keetha Mercer's anticipated movie review (00:06:11).
Review of "Apocalypse in the Tropics" Keetha Mercer reviewed the film "Apocalypse in the Tropics" which they saw at Hot Docs. The film, directed by Petra Costa, is about the rise of Bolsonaro in Brazil and his alignment with the radical and religious right (00:07:10). Keetha Mercer highlighted the parallels to other parts of the world and Bolsonaro's strategic conversion to gain religious endorsements (00:08:13). Keetha Mercer noted the film's focus on the Book of Revelation and how some religious groups interpret it as a reason for embracing destruction (00:09:25). Jared Mercer and Keetha Mercer discussed the contrasting messages of love and eternal punishment in the Bible (00:10:21). Keetha Mercer recommended the film and mentioned another of Petra Costa's works, "Edge of Democracy". Jared Mercer acknowledged Hot Docs as a Canadian event despite not seeing Canadian films there (00:11:27).
Thoughts on "The Dating Game" Jared Mercer briefly mentioned seeing a movie called "The Dating Game" at Hot Docs. The film explores the gender imbalance in China and the phenomenon of matchmakers for single men (00:12:25). Jared Mercer pondered why China doesn't seem to have the same incel problem as the Western world despite the significant gender disparity (00:13:29). Jared Mercer found the men in the movie to be genuine, while the matchmakers seemed less so (00:15:29).
Canadian Films Watched: "Balestra" and "Paying for It" Jared Mercer mentioned watching several Canadian films in preparation for the podcast. Jared Mercer did not finish watching a film called "Balestra" as they didn't enjoy it. Jared Mercer went to the cinema to watch "Paying for It" by Sook Yin Lee, a Toronto film about the filmmaker's life and relationship with a graphic novelist (00:15:29). Jared Mercer described the film as sweet despite its premise of the male character only engaging in paid sex after a breakup. Keetha Mercer jokingly suggested this premise was a metaphor for life in Toronto (00:17:22).
Sook Yin Lee and "Definitely Not the Opera" Keetha Mercer brought up Lee's past work on the CBC show "Definitely Not the Opera". Jared Mercer recalled Lee leaving MuchMusic and then being fired from "Definitely Not the Opera" for appearing in the movie "Short Bus," which contained non-simulated sex. Jared Mercer remembered seeing "Short Bus" at Regina's art house theater located in the downtown library (00:18:32). Keetha Mercer also recalled seeing "Strictly Ballroom" at the same location (00:19:22). Jared Mercer reminisced about the Regina library being a hub for art house cinema when Saskatchewan was considered a more progressive province. They both humorously commented on Saskatchewan's shift towards conservatism (00:20:12).
Introduction to "No Good Movies" Podcast Keetha Mercer realized they had not yet introduced themselves on their first podcast (00:21:12). Keetha Mercer introduced "No Good Movies" as a podcast reviewing Canadian film to determine its quality. Keetha Mercer stated they have no filmmaking experience but possess opinions and enjoy watching movies. Jared Mercer introduced themself as Keetha's younger brother and a film school graduate from the University of Regina (00:22:08). Jared Mercer recounted their film education, which involved working with traditional film and editing techniques, and their subsequent career in film and advertising (00:23:23). Keetha Mercer described their background in social justice and sociology, planning to bring a focus on Canadian identity and non-technical reactions to films. Jared Mercer positioned themself as more knowledgeable about film and Canadian cinema, aiming to introduce Keetha to various films (00:25:55). Jared Mercer suggested Keetha could represent the average viewer's perspective. They explained the podcast's format: watching a movie, discussing it, and rating it as "no good" or "not bad" (00:27:16).
Canadian Television and Film Discussion Jared Mercer mentioned using the Letterboxd app to track and rate movies with one-word reviews. Jared Mercer shifted to Canadian television, recalling watching a show on CBC Gem leading up to an election. Jared Mercer initially misremembered the name, calling it a "menstrual cycle TV show," before Keetha Mercer corrected them with "menopause" (00:28:19). Jared Mercer eventually remembered the show as "This Hour Has 22 Minutes" and praised its quality, noting its longevity since the 1990s (00:29:17). Jared Mercer also brought up "The Rick Mercer Report," which followed Rick Mercer's earlier work on "22 Minutes". Keetha Mercer expressed their love for the Canadian show "North of North," created by two Inuit women and filmed in Nunavut (00:31:09).
Quick Reviews of Other Films and Housekeeping Jared Mercer gave brief, one-word reviews of several non-Canadian films they had watched recently, including "Mickey 17" (bad), "Adolescence" (good), "Opus" (bad), "Everyone" (surprisingly good), and mentioned the release of "Rust" (00:31:56). Jared Mercer also mentioned watching a documentary about the play "Slave Play" (really good), "Warfare" (good), "Green Border" (very good), and revisiting "La Haine" (00:33:37). Jared Mercer noted the passing of film magazine Cinemascope but highlighted new magazines Metroraph and A Rabbit's Foot (00:34:41).
Discussion of the Canadian Film "Universal Language" Jared Mercer introduced the Canadian film for discussion, "Universal Language," Canada's entry for best foreign film at the Oscars, directed by Matthew Rankin and set in Winnipeg. Keetha Mercer described the film's reimagining of Winnipeg with Iranian cultural elements (00:35:53). Jared Mercer noted the film premiered at Cannes and had a theatrical release in 2025. Keetha Mercer said the trailer looked cute and funny, which aligned with the film itself (00:37:04). Jared Mercer was immediately drawn to the film's humor and distinctly Canadian setting. They both found the film's narrative structure, with seemingly separate storylines involving Matthew, children on ice, and a Farsi-speaking tour guide named Massoud, intriguing but initially confusing (00:38:18). They noted the blending of Iranian and Winnipeg culture, such as Tim Hortons as a tea shop and Persian on packaging (00:40:14).
Interpretations and Surrealism in "Universal Language" Keetha Mercer interpreted the film as exploring an alternate reality where Canada was influenced by a different dominant ethnicity, blending cultures. Jared Mercer pointed out the plot twist revealing Massoud as Matthew Rankin (00:40:14) (00:42:10). Keetha Mercer shared that reading about the film suggested it was an homage to new wave Iranian cinema (00:39:09). Keetha Mercer offered their interpretation that the film is about home, displacement, and memory loss, connecting it to Matthew's mother having dementia (00:43:14). Jared Mercer noted the cyclical ending with Massoud returning money to the ice. Jared Mercer declared the movie great and recommended it, praising its humor in the first half (00:44:32). Jared Mercer acknowledged the film's ambiguous nature, leading to much to think about. Keetha Mercer described the film as a little absurd. Jared Mercer reflected on a previous recording attempt and hoped not to repeat points about the ending and Massoud's motivations (00:45:30). Keetha Mercer explained the connection between Massoud, the lost glasses, and the 500 riel, highlighting the shared motivation between Massoud and the girls (00:46:27).
The Turkey Motif and Wes Anderson Influence Jared Mercer and Keetha Mercer discussed the prominent turkey motif in the film, which they initially didn't understand until their Polish stepdad pointed out Canadians' obsession with turkeys during holidays (00:47:35). Jared Mercer described the film as a "surreal comedy of disorientation," which Keetha Mercer agreed with. Jared Mercer noted elements reminiscent of Wes Anderson's style, particularly in the static shots and deadpan presentation of absurd situations (00:48:37). Keetha Mercer also felt a strong Wes Anderson vibe in the cinematography, such as shots of children against plain walls and the unchanging school exterior (00:49:43). Jared Mercer appreciated the use of static shots with continued dialogue even when characters were off-screen or partially visible (00:50:54). They both praised the film's capture of the "brutalist architecture" of the Prairies, especially the concrete arches (00:51:53). They humorously contrasted Prairie architecture with that of other Canadian regions, suggesting its utilitarian nature focused on survival (00:52:59).
Title Significance and Iranian Film Influence Keetha Mercer questioned the meaning of the film's title, "Universal Language". Jared Mercer speculated it connected to the theme of unity and the blending of cultures, such as Persians in Winnipeg (00:54:05). Keetha Mercer suggested the universal language might be home and people rather than a specific spoken language, given the overlapping cultural elements in the film. Jared Mercer pointed out the made-up "Winnipeg Youth Society" at the beginning, mimicking Iranian societal titles (00:55:12). Jared Mercer mentioned the influence of Iranian filmmaker Abbas Kiarostami and that Kiarostami's son enjoyed "Universal Language". Jared Mercer pondered whether they should watch a Kiarostami film next. Keetha Mercer agreed. Jared Mercer recalled reading reviews that found the film a "little bit too Canadian" (00:56:25). Jared Mercer explained this comment likely referred to the film's specific cultural references and humor that might resonate more strongly with Canadian audiences (00:57:33).
Reactions to a Film Review Jared Mercer discussed a review of a Canadian film, "Universal Language," from the UK publication Sight and Sound. While the review acknowledged the film's acclaim, it suggested that a reference to Tim Hortons as a tea shop might only be understood and found funny by Canadians, potentially limiting the film's reach. Jared Mercer strongly disagreed with this sentiment, pointing out that English and American films frequently contain culturally specific references that are understood or appreciated by international audiences without requiring full comprehension (00:58:36).
Cultural Specificity in Art Keetha Mercer supported Jared Mercer's point, arguing that the purpose of art is to offer glimpses into different lives and cultures. They suggested that if art lacked specificity to its place of origin, it would become bland and lose its unique identity (01:00:56). Jared Mercer further elaborated on this, expressing frustration with the ingrained notion that Canadian stories need to be relocated to American settings for broader appeal (01:03:51). Keetha Mercer attributed this to the cultural dominance of the United States (01:01:54) (01:04:55).
Canadian Film Recognition Jared Mercer and Keetha Mercer discussed the tendency for Canadian stories to be adapted and Americanized for US audiences. Jared Mercer mentioned the adaptation of the Canadian novel "Station 11" as an example (01:02:51). They then considered Canadian equivalents to major international film awards, identifying the Canadian Screen Awards as possibly being Canada's version of the Oscars. Jared Mercer noted that "Universal Language" has received numerous nominations for the upcoming Canadian Screen Awards (01:05:57).
Canadian Screen Awards Jared Mercer mentioned that "Universal Language" has been nominated for over ten Canadian Screen Awards, including best picture and best director. Keetha Mercer mentioned the awards are happening next weekend in Toronto. They considered attending the event and discussing it in a future podcast episode, recognizing that there might be other notable Canadian films they are not yet aware of (01:07:01). They briefly attempted to look up ticket information but decided to do so offline (01:08:09).
Jared Mercer and Keetha Mercer will watch and discuss the upcoming Canadian Screen Awards on their podcast, looking for new Canadian movies to review.