"Favourite Films" are taste samples
No stars only words
Described in one way, Universal Language sounds like a white nationalist’s conspiratorial ramblings about the “Great Replacement.” In one of its main plot threads, a white Anglophone—the director Matthew Rankin—returns to his home city only to find himself replaced by an Iranian-Canadian man, and the city’s English replaced with Farsi. This might make you nervous about where the sympathies of this project lie.
But in practice, Matthew has here treated re-placing English, re-placing Winnipeg, and maybe even re-placing himself as…
As ever, I love a weird big swing and seeing how it plays out for better and worse. For worse: it pretends to care about Indigenous and Black relationships to the American "here" for like a couple seconds at a time, and it would almost be better if admitted that it only really cares about the white middle-class family at its centre. But I liked the chutzpah, the combination of theatre with montage, and the final Plato’s Cave twist that the world includes more than one house.
I found the movie hit best when I remembered that I am going to die one day. Happy Lent!
This review may contain spoilers. I can handle the truth.
Some see a movie where every cop is a loving parent; I see a movie where even loving parents nevertheless end up being cops. And in a world where every queer person is an outlaw mutant with a cop parent who resents them, the existential question for one child becomes: can cop parents ever be saved?
Finally watched the thing and was amazed to realize that 90% of the quotes come from the same mythic figure, Regina George. The whole movie orbits around her, to the point that when we’re told she’s no longer the centre of her social world, it feels like the movie is straining against its own reality. Her stare pierces through everything. If there is any other Mean Girl in the world, it is only because Regina invented her. She’s like if…