Matthew Rankin’s latest film stands out among this year’s international feature film Oscar nominees for its unique premise and narrative style. It transports viewers to a surreal world that blends Eastern and Western cultures, set against the backdrop of an industrial park in Winnipeg, Canada. The story weaves together seemingly unrelated events, such as an office worker’s journey to visit his mother and a turkey that steals glasses, all tied together by the unexpected discovery of a buried banknote.
Despite its unconventional approach, the film resonated with audiences and won the Rankin Audience Award at the Cannes Directors’ Fortnight last year. Rankin acknowledges the film’s improbability but expresses joy at its connection with viewers worldwide. He describes the work as a blend of Iranian and Canadian cinematic language, creating a “third space” that allows viewers to engage with its themes amidst the backdrop of the pandemic and its associated feelings of loneliness.
The film is inspired by Rankin’s family history, notably a childhood story from his grandmother about finding a frozen banknote during the Great Depression. This personal narrative complements his fascination with Iranian cinema, which he discovered as a teenager through films from the Kanoon Institute. The merging of these influences allowed Rankin and his collaborators to expand upon the initial idea, creating a work that explores complex themes while maintaining a sense of playfulness and beauty.
Rankin’s reflections on filmmaking emphasize a desire to create unity in a world often divided along cultural lines. By bringing together disparate elements, he aims to offer viewers a cinematic experience that is both relatable and thought-provoking, challenging traditional storytelling conventions.Matthew Rankin, the director of “Universal Language,” recently discussed the complexities of his hometown, Winnipeg, and its influence on his filmmaking. He described Winnipeg as geographically central yet culturally peripheral within North America. The city exhibits a mix of conservatism and a contrasting counterculture, leading to a rich artistic environment characterized by surrealism and unique storytelling.
Rankin pointed out that Winnipeg has produced notable outsider artists, with Guy Maddin being a prominent figure. He emphasized Maddin’s ability to reinterpret older film languages, such as melodramas from the 1940s and silent films, to express deeply personal narratives. Rankin also reminisced about the animated film “The Big Snit,” which he found to be a significant reflection of life in Winnipeg, showcasing its distinctive humor and absurdity.
When reflecting on his previous works, including his debut film “The Twentieth Century,” Rankin noted that while they differ in theme and style, they share a common thread of humor and an exploration of reality. His academic background in history influences his approach, as he aims to transmute reality into art effectively, often challenging conventional depictions of historical events.
Looking ahead, Rankin is balancing multiple projects, including a documentary fiction about Esperanto and an experimental film focused on a conservative Canadian politician. Both projects continue to weave together themes of culture and identity, influenced by present realities.
In a lighter moment, he addressed concerns about Donald Trump’s political ambitions in Canada, responding with humor about Trump’s reputation for making deals. This blend of serious artistic exploration with a penchant for wit exemplifies Rankin’s filmmaking philosophy and his connection to his roots in Winnipeg.