An absurd triptych of seemingly unrelated stories finds a mysterious point of intersection in this tale set somewhere between Winnipeg and Tehran. Canada’s official submission for Best International Feature Film; category for the 97th Academy Awards in 2025. «These Eyes» – screenplay by Randy Bachman and Burton Cummings – starring: The Guess Who. From the cinematography and the usual search for symmetry, static or moving shots, to the pleasant aesthetic with a dreamlike atmosphere that enhances the universality of the setting, to the story revolving around the different characters, how their lives intersect and the dialogue, sometimes polite, sometimes not, in Matthew Rankin’s film the influence of Wes Anderson is evident from beginning to end. As in Anderson’s films, Rankin’s is interested in exploring the reality of his film, a reality full of peculiarities that provide fertile ground for comedy. An angry teacher in a classroom shouts at his students, one of whom claims that 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 of tours, etc. With a comedy composed of ironic, serious, and black humor, Une langue universelle manages to be funny whenever it wants to be. Many times its events border on the absurd or surreal, deepening the comedy that bathes it, but never undermining its purpose of provoking profound thought. Rankin’s skill is able to evoke a surreal, dreamlike fable, but also a vivid, introspective melancholy. Elements and feelings that combine and animate a particular experience between places and times, reality and dreams. For example, in the film setting, even if we are in Canada, French, let alone English, seems like a second language, and in its place comes Persian. Everyone speaks it, it’s written on signs and billboards, and the result is a blending of the near and the far, the familiar and the unfamiliar in a culturally and demographically blind new reality. Cinematographically, it’s often reminiscent of Anderson, more in framing and movement than in palette, and there’s a constant desire to inhabit the spaces the characters occupy. The camera sometimes lingers from a distance, watching their movement and its impact on the surroundings, rather than focusing on their faces and expressions in close-ups. It’s as if the location is as important to the storytelling as the characters, and Rankin wants to make sure we immerse ourselves in it as tourists from a foreign land. And while we may be familiar with these cities by name, in the context of the film and its demographic profile, which is different from our own, there may be reasons to immerse ourselves in these spaces.
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An absurd triptych of seemingly unrelated stories finds a mysterious point of intersection in this tale set somewhere between Winnipeg and Tehran. Canada’s official submission for Best International Feature Film; category for the 97th Academy Awards in 2025. «These Eyes» – screenplay by Randy Bachman and Burton Cummings – starring: The Guess Who. From the cinematography and the usual search for symmetry, static or moving shots, to the pleasant aesthetic with a dreamlike atmosphere that enhances the universality of the setting, to the story revolving around the different characters, how their lives intersect and the dialogue, sometimes polite, sometimes not, in Matthew Rankin’s film the influence of Wes Anderson is evident from beginning to end. As in Anderson’s films, Rankin’s is interested in exploring the reality of his film, a reality full of peculiarities that provide fertile ground for comedy. An angry teacher in a classroom shouts at his students, one of whom claims that 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 of tours, etc. With a comedy composed of ironic, serious, and black humor, Une langue universelle manages to be funny whenever it wants to be. Many times its events border on the absurd or surreal, deepening the comedy that bathes it, but never undermining its purpose of provoking profound thought. Rankin’s skill is able to evoke a surreal, dreamlike fable, but also a vivid, introspective melancholy. Elements and feelings that combine and animate a particular experience between places and times, reality and dreams. For example, in the film setting, even if we are in Canada, French, let alone English, seems like a second language, and in its place comes Persian. Everyone speaks it, it’s written on signs and billboards, and the result is a blending of the near and the far, the familiar and the unfamiliar in a culturally and demographically blind new reality. Cinematographically, it’s often reminiscent of Anderson, more in framing and movement than in palette, and there’s a constant desire to inhabit the spaces the characters occupy. The camera sometimes lingers from a distance, watching their movement and its impact on the surroundings, rather than focusing on their faces and expressions in close-ups. It’s as if the location is as important to the storytelling as the characters, and Rankin wants to make sure we immerse ourselves in it as tourists from a foreign land. And while we may be familiar with these cities by name, in the context of the film and its demographic profile, which is different from our own, there may be reasons to immerse ourselves in these spaces.
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