A World Both Familiar and Strange: Winnipeg as Tehran
The film opens with a peculiar sight: English subtitles overlaying Persian text, setting the tone for a world that is both recognizable and utterly unique. The story unfolds in a version of Winnipeg that feels almost like our own, yet it is infused with the cultural vibrancy of Tehran. This blending of worlds is not just a cosmetic choice but a core element of the narrative, creating a thought-provoking environment where the audience is constantly reminded that this is not the Winnipeg we know. Instead, it is a place where the landscapes are snowy, Tim Hortons have transformed into teahouses, and the language spoken is a mix of Persian and French. The latter is a nod to Canada’s bilingualism, grounding the film in a Canadian context while allowing Iranian cultural traditions to flourish seamlessly.
The screenplay, written by Rankin, Ila Firouzabadi, and Pirouz Nemati, presents this alternate reality without apology or explanation. It is a world where Iranian customs and Canadian norms coexist naturally, creating a cultural fusion that feels both fantastical and strangely plausible. The absence of exposition for this alt-historical reality is deliberate, allowing the audience to immerse themselves in the story without being bogged down by questions of “why.” Instead, the film invites viewers to accept this world as it is, where the blending of cultures is not a point of conflict but a backdrop for the characters’ lives.
The Quirks of Everyday Life in This Alternate Winnipeg
The first scene introduces us to a French-immersion language school filled with rambunctious children, including one dressed as Groucho Marx and another named Omid, who insists that a turkey stole his glasses. This absurd claim sets the tone for the film’s offbeat humor and highlights one of the most bizarre aspects of this alternate Winnipeg: an obsession with turkeys. The children’s misbehavior is met with the ire of their ill-tempered teacher, who demands that Omid recover his glasses before school can resume. This seemingly trivial problem becomes a central plot point, driving the story forward and showcasing the interconnectedness of the characters’ lives.
The turkey obsession permeates every aspect of life in this Winnipeg. Old men gather in a Tim Hortons teahouse, its sign rendered in Persian, spending their days discussing their turkeys—lost turkeys, prized turkeys, and the glory of their turkeys. The snowy weather may contribute to the overall melancholy that hangs in the air, but it is the turkeys that provide a sense of communal focus. Even the town’s infrastructure reflects this obsession, with a “Kleenex repository” supplying tissues to the perpetually sad residents and a lacrimologist studying tears at the cemetery, which is oddly situated between highways. This blend of whimsy and melancholy creates a world that is both humorous and poignant, inviting the audience to laugh while also reflecting on the universal human experience of sorrow.
Wanderers in a Richly Textured World
The story is shot in a style that pays homage to the Iranian New Wave cinema of the 1970s, with a richly textured aesthetic that evokes the feeling of Tehran during that era. This visual approach grounds the film in a sense of timelessness, even as the story explores themes of identity and culture. The characters wander through this world, each with their own unique struggles and quirks, creating a mosaic of lives that intersect in unexpected ways. Among these characters is a tour guide played by Pirouz Nemati, who leads a group of rare Winnipeg tourists to sites of interest that are simultaneously mundane and extraordinary. These sites include the location of The Great Parallel Parking Incident of 1958 and a UNESCO-designated spot where a briefcase has sat forgotten at a bus stop for years. For the guide, these landmarks are not just points of trivia but monuments to human connection, however small or banal they may seem.
The Quest for a Solution and the Power of Human Ingenuity
In another subplot, two girls, Rojina Esmaeili and Saba Vahedyousefi, discover a 500-riel bill frozen in ice. This bill, a play on the Iranian currency rial, becomes the key to solving Omid’s problem and resuming school. The girls realize that if they can retrieve the bill, they can use it to buy glasses for Omid. However, their plan requires an ax, and the question of where to find one becomes a central challenge. This seemingly simple obstacle reflects the resourcefulness and determination of the characters, as well as the interconnected nature of their lives.
The Interconnected Lives and the Search for Meaning
As the story progresses, it becomes clear that the lives of these characters are intertwined in ways both obvious and subtle. The quest for the ax, the search for Omid’s glasses, and the tour guide’s sentimental journey through Winnipeg’s landmarks all contribute to a narrative that is both fragmented and cohesive. Each character’s journey is a search for meaning and connection in a world that feels both familiar and strange. Whether it’s the old men’s turkey obsession, the lacrimologist’s study of tears, or the children’s antics, every element of the film contributes to a larger exploration of what it means to live in this unique blend of cultures and landscapes.
A Celebration of Banality and the Beauty in the Mundane
At its core, the film is a celebration of the beauty found in the banality of everyday life. The forgotten briefcase at the bus stop, the old men’s endless discussions about turkeys, and the children’s misadventures all point to a world where even the most mundane moments are imbued with significance. The film’s richly textured visuals and offbeat humor invite the audience to find joy and meaning in the ordinary, while also reflecting on the universal human experiences that connect us all. In this alternate Winnipeg, the blending of cultures is not just a backdrop but a way of life, reminding us that the most profound truths are often found in the simplest of things.
