Setting a movie within an absurdist world of hyperbole can make it hard to develop commentary. The absurdism should make it easier for the filmmaker to lampoon an idea, but sometimes the strange nature of a movie takes over. Universal Language – from director Matthew Rankin admirably attempts to tell a unique tale. However, his film becomes so ambitious in its use of visuals and shifting tone that it’s hard to keep straight.

Universal Language attempts to weave an overarching tale, including three stories. The first follows children trying to dig through the snow, where they know money is located. The second follows Rankin himself as he attempts to regain a connection to his home. Finally, a tour guide wanders through the snow and abandoned malls with an irritated group of tourists.

While the middle and second act of Universal Language are gorgeous in their execution, the first act struggles to get the story moving. The final act takes on a more comedic tone after the first two. It visually looks closer to Wes Anderson, but the quiet patience to make a joke feels far outside of the tweed aesthetic Anderson employs. Rankin develops his side characters well, but they do not feel as complete as his inspirations. Perhaps more time on this might help Universal Language feel more confident.

Rankin also proves exceptionally strong at landing moments of tragedy and joy. The second act contains moments of both, which allows it to feel like the most complete story of the three. There’s a melancholy air over the film as a whole that helps it maintain its novelistic feel. As the tales wind and intersect, that feeling only becomes stronger. It’s a very interesting construction, but admittedly, it makes for confusion at times.

Unlike Anderson, Rankin does not provide many quick zooms or pop music to land its points. Instead, Rankin places us within a setting to let us observe the visual peculiarities of each sequence. He composes many scenes with stagnant cameras while characters walk through the frame. It helps highlight some of the most unique aspects of the world, and get us locked into its larger story.

Rankin showcases some homages and plenty of skill behind the camera. A wide tracking shot on the city streets recalls Paris, Texas. The slow fades, and montages recall hyper emotional cinema of the 1990s, including Secrets & Lies. As the story slows down and Rankin takes the screen, Universal Language is at its best. The middle act conveys so much heart, it jumpstarts the movie after a slow opening. Sadly, other moments feel cut down by the choices made.

Most importantly, Rankin tells an intricate story of Western assimilations’ effects on Iranian culture. The characters throughout his story hold onto hope, joy, and love. Yet, as they do, you can feel the creep of French and Canadian culture into the edges of their world. The struggle to maintain one’s culture while the world changes around you is a tale as old as time. Yet as the tour guide Massoud notes, a changing world does not mean we lose our hope in the future. Even the image of something destroyed or changed reminds us that hope did exist. It’s up to us to recapture that.

This becomes Universal Language’s most interesting aspect. It also provides an interesting path for him to pursue in the future. The cultural specificity of his world, while adopting gorgeous and tightly controlled visuals, makes Rankin a unique filmmaker. While Universal Language struggles with its storytelling at times, Rankin proves he’s got the goods as a visual filmmaker. Universal Language will reward repeat viewings, and doing so may open the door for audiences to find something more emotional and fulfilling.

Alan’s Rating: 6/10Watch Universal Language at Cannes 2024.Check out our other Film Festival coverage here! Please check out other Sunshine State Cineplex reviews here!The post Cannes 2024: UNIVERSAL LANGUAGE – A Convulated Comedy appeared first on Sunshine State Cineplex.