Find Your Film
Use our search function below to sort the films by their English title, the names of directors, or their country of origin. Films can also be filtered by series, genre, or Vancouver International Film Festival venue. You can also browse by film series by visiting our Browse By Series page.
The majority of films in the Vancouver International Film Festival are unrated and you must be 18 and purchase a $2 VIFF membership to attend a screening. However, a selection of films are open to all ages.
Before you make your purchase, please note The Rio is 19+ exclusively with the exception of the rated High School Screenings at this venue.
Nick Waggoner’s gorgeous, gripping documentary captures a decades-long struggle over the future of Jumbo Valley, deep within the raw, rugged Purcell range of B.C.’s Columbia Mountains. Exploring a tug-of-war between a proposed (and long-delayed) $450-million ski resort near Invermere versus community members, conservationists and the Ktunaxa Nation and Shuswap Indian Band who are determined to see Jumbo kept wild, Waggoner’s film documents the fierce ideological battle surrounding how we value land.
Two of France’s greatest young stars—Tahar Rahim (A Prophet) and Adèle Exarchopoulos (Blue Is the Warmest Colour)—are at the centre of Elie Wajeman’s exhilarating drama. A cop (Rahim) in Belle Époque Paris insinuates himself into an anarchist cell, only to find his loyalty wavering when he falls for the sensual Judith (Exarchopoulos)… "A vastly entertaining police-infiltration thriller that uses fin-de-siècle radicalism as an exquisitely atmospheric backdrop…"—Guardian
Intimate, revealing, philosophical, spiced with dollops of whimsy—these are qualities associated with the work of the late, legendary documentarian Albert Maysles (Gimme Shelter, Grey Gardens), and his final film (co-directed with Lynn True, Nelson Walker, David Usui and Ben Wu) has them in spades. On a three-day train trip from Chicago to Seattle, the team—through encounters with other passengers—captures a snapshot of American life. "Lovely… A folk odyssey through northern landscapes that proves a fitting farewell to an American ethnographer."—Variety
The life story of a First Nations sex worker is conveyed via a ragged daytime dance through Vancouver’s Downtown Eastside.
It seems The Wolfpack doesn’t have the market cornered when it comes to exceedingly strange New York apartment stories. In October 2003, New York City police stormed the top floor of a Harlem high-rise after being alerted that a Bengal tiger and alligator were being kept as pets. A dozen years on, Phillip Warnell has taken an inspired approach to exploring this remarkable story, trading the sensationalistic for actual sensations. Through meticulous reconstructions, we’re immersed in this odd habitat of restless, trapped animals, and filled with awe.
Preteen power fantasies don’t come any more entertaining than Jon Watts’ Amblin-on-adrenaline scenario. Wandering aimlessly, eight-year-old best friends Travis (James Freedson-Jackson) and Harrison (Hays Wellford) happen upon an abandoned police car with the keys dangling from the ignition. What are they to do but take it for a joyride? Unfortunately for them, an extremely dirty cop (a villainous, moustachioed Kevin Bacon) needs what’s stowed in the trunk and sets off in hot pursuit. “There’s something mythic about the story unfolding before us…”—Vulture
Somewhere in Isan, in Thailand’s Deep Northeast, an ancient royal cemetery is being disturbed by developers. Nearby a school pressed into service as an army hospital houses soldiers with a mysterious sleeping sickness. What’s the connection? Apichatpong’s inimitable mix of dream, fact and speculative fiction teases out the answer, with some steely political implications. Very different in tone and style from Uncle Boonmee, but no less haunting. Tony Rayns
A conglomerate moves into our hapless hero Rob’s (Robert Malone) small town and asks for human guinea pigs in order to further its "organic synthesis research… to aid the brothers and sisters overseas." Naturally, Rob and his buddy volunteer, setting in motion the oddest chain of events you’re likely to see in a movie this year. Zach Weintraub’s latest is "hilariously strange… Yet another example of an outlaw attitude that’s alive and well in American movies."—Indiewire
Spoken-word artist Shane Koyczan gives us a new perspective on Charlie Chaplin.
Ben Wheatley’s bold adaptation of J.G. Ballard’s novel takes no prisoners. This scorching satire on class, hedonism and depravity in an imploding luxury apartment building is an even more apocalyptic class polemic than Snowpiercer. Throw in exquisitely unsettling turns from Tom Hiddleston and Jeremy Irons, a string quartet cover of ABBA’s 1975 hit “SOS,” an orgy or two and spice with cannibalism, and you have a tour de force of astonishing architectural ambition.
VIFF favourite Charles Wilkinson (Oil Sands Karaoke) returns with a visually stunning paean to breathtaking Haida Gwaii and the spirited people who populate it. The natural beauty of this culturally rich archipelago has served as a backdrop for tragedies such as outbreaks of smallpox and the exploitation of natural resources. And yet, the Haida Nation remains undaunted, preparing for a showdown over the Northern Gateway pipeline and planning for a more sustainable future.
Alex Williams’ film illuminates a shocking time when Canada embraced racial segregation, wilfully and illegally denying Indigenous peoples the basic freedom to leave their reserves and jailing them when they did so without a pass. Cree, Soto, Dene, Ojibwe and Blackfoot elders tell their stories of living under—and resisting—this system. Likewise, they link their experiences to the current state of affairs. Acclaimed Cree actor and activist Tantoo Cardinal narrates this investigation into a little-known aspect of our history.
In Alice Winocour’s taut, beautifully controlled drama, an Afghanistan veteran prone to panic attacks (Rust and Bone’s Matthias Schoenaerts, indelible) is hired to protect a wealthy businessman’s wife (Diane Kruger) and child at their luxurious coastal estate. Are the dangers he detects real or are they just PTSD symptoms caused by his war-time experiences? "A pulsing, sexy thriller… Schoenaerts at this point should be certified as a genuine movie star."—Vanity Fair
By day, Mark Reay enjoys an enviable life as a New York fashion freelancer, snapping photos, visiting fashion houses and using upscale eateries as makeshift offices. At night, he retreats to a rooftop where he lives under a tarp. This photographer-actor is a well-coifed embodiment of contradictions: classy but destitute; talented but unlucky at life. However, rather than simply trying to pay the rent, he doggedly chases the dream. Thomas Wirthensohn’s documentary “is an adventure… and an often beautiful portrait of [New York’s] promise and cruelty.”—Village Voice
Despite its stellar reporting, short fiction and criticism, there are still many readers who flip directly to The New Yorker’s cartoons. Understanding that impulse completely, Leah Wolchok profiles Bob Mankoff, the cartoon editor who determines what’ll get a laugh. In turn, we’re introduced to the eccentrics who aspire to distill their satire into a single pristine panel. "A dream come true… A warm and frequently hilarious portrait of the unique men and women who live for that rare moment when their drawings are printed in their business’ holiest book."—Time Out
The art and unbridled personality of acclaimed British artist David Hockney are brought to vivid life in Randall Wright’s treatise on the man’s memorable and influential career and personal history. Intimate and insightful, the portrait delves deeply to reveal a charismatic rebel, still searching for new ways of seeing, whose passion for art remains intense, and whose wry sense of humour still shines through. "A wealth of intimate home-movie footage and an affinity with his subject invigorate Wright’s unashamedly affectionate portrait of a British icon."—Observer