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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.
Maurice made a list: pick a date, retire, sell the car, see old friends and empty the garage. Then, die with dignity.
A tea-time get-together between old friends reveals the seedy indiscretions within the group.
In the Canadian arctic, a man is haunted by a young girl that the rest of the country has forgotten. (This project was produced with the guidance of Reel Youth mentors at Inuvik Youth Centre.)
Jia returns to his own roots (disco dancing to the Pet Shop Boys!) in his masterly vision of China’s past, present and future. We start in 1999, with Shanxi belle Tao torn between two rival boyfriends. She opts for the more ambitious of the two, gets married and has a son… only to end up divorced and alone in 2014. Ten years later, in 2025, her son is a dislocated émigré in Australia. The heart of the film is a question: what lasts and what’s all too easily lost? Tony Rayns
Adam Garnet Jones
In Adam Garnet Jones’ first feature, a teenage girl commits suicide in a remote Anishinaabe community and it’s up to her brother Shane (Andrew Martin) to take care of their family. Shane was supposed to move to the city for university in the fall and was desperately trying to convince his secret boyfriend (Harley Legarde-Beacham) to come with him. When forced to choose between devotion to his family or his desire to dictate his own future, what will he do?
The title translates as "Bravo!" and director Radu Jude (Everybody in Our Family) means it in the most darkly ironic way possible here. In early 19th-century Wallachia, a burly constable and his son track an escaped Roma slave; in the process Jude draws on the tropes of the Western to fashion a gorgeously shot drama rife with meanings for today. "An exceptional, deeply intelligent gaze into a key historical period, done with wit as well as anger."—Variety
A nonstop girls’ animation in which the fantasy of a girl who wants to be eaten expands without limit. By the director of Anal Juice (VIFF 2014). (TR)
When the owners of a cargo company go bankrupt, six seaman are forced to spend months alone on a stranded ship off the coast of Egypt while the legal issues are sorted out. Trying desperately—and failing miserably—to maintain a sense of normality in the face of increasingly strange goings-on, the crew unravels… Tolga Karaçelik’s psychological thriller is both a tense, atmospheric huis clos and an hallucinatory allegory that will haunt your waking dreams.
Charlie Kaufman, the celebrated screenwriter of Being John Malkovich and Adaptation and director of Synecdoche, New York, and Duke Johnson venture into the world of stop-motion animation with this fable about a motivational speaker seeking to transcend his monotonous existence.—Toronto International Film Festival
A flight of fancy from Alanté Kavaïté, this dreamy, coming-of-age story focuses on 17-year-old Sangailé (Julija Steponaitytė), a young woman with a fascination for flying and a contradictory fear of the same. Until, that is, she meets the fearless Auste (Aistė Diržiūtė) and the two young women fall in love… Punctuated by a charmingly aestheticized eroticism that is entirely appropriate to this crisply told tale, Sangailé is a touching and deeply empathetic gem.
Glasnevin Cemetery holds not just the final remains of 1.5-million Dubliners but the infinite stories that are buried along with them. Fortunately, Aoife Kelleher’s documentary has avuncular historian Shane MacThomais to guide us through the sprawling grounds and the colourful pasts of the late luminaries (and unknowns) laid to rest there. MacThomais’ personality suffuses the film, ensuring a tone that’s buoyant rather than funereal as he enlightens us on everything from burial procedures to posthumous celebrity. “Comprehensive and beautifully filmed…"—Irish Times
Faye Farber, 85 years old, has a movie star attitude and whole lot of spirit. (This project was produced with Reel Youth mentors and the support of Revera.)
Water projects and externalizes what is happening in the mind of a young boy. Award for Excellence, Image Forum Festival 2015. (TR)
Making a splash with his debut feature, Kim Gwangtae has transposed the "Pied Piper of Hamelin" story to a Korean mountain village in the early 1950s, the time of the Korean War. This piper is a charming peddler with a bad leg, trudging in search of treatment for his tubercular son. Their brief stay in a village plagued by rats uncovers some very guilty secrets: astonishing spectacle meets dark allegory. Tony Rayns
What happens to young marrieds when they let in a generous dokkaebi ghost? (TR)
When a Marine returns from combat severely wounded, he and his young wife face imposing changes to their lives.
When their long-estranged father dies, three grown-up sisters impulsively invite the half-sister they’ve never known (she’s the daughter of the father’s second wife) to move into their large house in Kamakura. Kore-eda Hirokazu’s most female-centric film, adapted from a famous manga by Yoshida Akimi, is less about sisterly bonds than about familial tensions, rivalries and what it takes to overcome them. Sensitive, emotionally acute and, of course, beautiful. Tony Rayns
Sarah Jean Kruchowski
Two estranged sisters are reunited at their childhood home, where the gulf between them, simmering resentments and long lost bonds emerge.
In 1987, three young Soviets would do anything that their motherland asked. Now in their 30s, they’re adrift in a Russia that has no real need of them. Natalya Kudryashova’s wistful debut shuns grand allegory in favour of an intimate scale that focuses on character (but still allows for some ravishingly cinematic passages). Cutting between time periods and counterpointing defiance with disillusionment, it generates a compelling tension that builds to a staggering climax.
Sandro (a.k.a. William Hemblton) Kuparashvili
A compelling story of the lengths a father will go to for the love of his child, set to Alexi Murdoch’s "Orange Sky."