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An absurd triptych of seemingly unrelated stories finds a mysterious point of intersection in this story, which takes place somewhere between Winnipeg and Tehran. Canada’s official bid for the Best International Feature Film at the 97th Academy Awards in 2025. These eyes Screenplay by Randy Bachman and Burton Cummings Performance by The Guess Who. From cinematography and the usual search for symmetry, whether in static or moving frames, and a pleasant aesthetic with a dream-like atmosphere that enhances the universality of the setting, to the story revolving around different characters, how their lives intersect and animate the dialogue , sometimes polite, sometimes not so much, Wes Anderson’s influence permeates Matthew Rankin’s film from start to finish. As in Anderson’s films, Rankin is interested in exploring the reality of his film, a reality full of idiosyncrasies that serve as fertile ground for comedy. An angry teacher in the classroom shouts at the students, one of whom claims that the turkey stole his glasses; the second is dressed like Groucho Marx because he wants to become a comedian; and another as a fashionista. Independent tourist guide with a strange choice for his tour, etc. d. With a comedy of irony, levity and black humor, « Une langue universelle » manages to be funny every time it wants to. In many cases, his events border on absurdity or surrealism, contributing to the comedy that envelopes him, but never undermines his goal – thought-provoking depth. Rankin’s dexterity manages to evoke a surreal fairy tale, but also an expressive introspective melancholy. Elements and feelings that unite and give life to a special 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 Persian is in its place. They all speak it, and signs and billboards are written in it, presenting its outcome as something close yet distant, known and unknown, intertwining in a culturally and demographically blind new reality. From the point of view of the cinematography, which in many cases resembles the cinematography of Anderson, more in terms of framing and movement than in terms of color palette, there is a constant desire to inhabit the spaces in which the characters are located. The camera is sometimes static at a distance, watching their movement and how it affects their surroundings, instead of focusing on their faces and expressions in close-up. It’s as if the place is as important as the characters to the story, and Rankin wants to make sure we immerse ourselves in it like tourists from a foreign country. And although from the point of view of the names we can know these cities, within the framework of the film and its demographic profile, which does not correspond to our knowledge, there may be reasons to delve into these spaces.