An absurd triptych of seemingly unrelated stories finds a mysterious intersection somewhere between Winnipeg and Tehran in this story. Canada's official search for the "Best International Feature Film" class at the 97th Academy Awards in 2025. These EyesWritten by Randy Bachman and Burton Cummings, presented by The Guess Who. From its cinematography and its usual search for symmetry, still or travel shots and the pleasant aesthetic of the dreamlike atmosphere that adds to the universality of the settings, to its story that revolves around different characters, how their lives intersect and enlivens the dialogue, sometimes polite, sometimes not. So much so that Wes Anderson's impression exceeds that of Matthew Rankin from start to finish. As with Anderson's films, Rankin is interested in exploring the reality of his film, a reality full of quirks that serve as fertile ground for comedy. An angry teacher in class yells at the students, one of whom claims a turkey stole his glasses; another is dressed as Groucho Marx because he wants to be a comedian; and another as a fashionista; a freelance tour guide who makes strange choices for his tour, etc. Une langue universelle manages to be hilarious whenever it wants, with a comedy made up of cheeky, grim and black humor. It often happens that its events border on the absurd or surreal, which adds to the comedy that permeates it, but never deviates from its goal of being thought-provoking and profound. Rankin's skill manages to evoke a surrealist, dreamlike fairy tale, but also the melancholy of obvious introspection. Elements and emotions that blend together, bringing to life a special experience between places and times, reality and dreams. In the reality of the film, for example, French, let alone English, seems like a second language replaced by Farsi, even though we're in Canada. They all speak it, and it's written on signs and billboards. The result is something close yet distant, familiar and unknown, merging in a culturally and demographically blind new reality. Framing and movement as in a color palette, there's a constant will to inhabit the spaces the characters are in. The camera is sometimes static from a distance, observing their movement and its effect on the environment, rather than focusing on their faces and expressions in close-ups. It seems as though the place is as important to telling the story as the characters, and Rankin wants to make sure we're immersed in it as a tourist from a foreign land. And while we may know these cities by name, in the context of the film and its demographic profile, which is, to our knowledge, unprecedented, it may be worth delving deeper into these spaces.