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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.
Cal Arts film essayist Thom Andersen (Los Angeles Plays Itself) has crafted a film lover’s dream, inspired partly by the cinema theory of the brilliant French philosopher Gilles Deleuze but based mostly on his own lifelong erudite engagement with the history and seductive power of the movies. Whether zeroing in on lyrical abstraction, ruminating on Nazis, communists and spies, or comparing Maria Montez and Debra Paget’s Orientalist snake dances, this is a gift for anyone who believes in cinema as art, as a form of thought and as a source of great pleasure.
Hashiguchi has likely given more pleasure to VIFF audiences over the years than any other Japanese director, and this is his crowning achievement to date: three interwoven tales of individuals learning to cope when love slips through their fingers. The protagonists are a bereaved bridge-repairman, an unhappy housewife with creative ambitions and an elite gay lawyer. Wildly funny in parts, but the overall tone is worldly and very wise. Tony Rayns
In this searing drama set in a remote Kosovar village after the war with Serbia, Isa Qosja explores a patriarchal society rattled by the revelation that their women were violated by enemy soldiers. The immaculately shot film hinges on a showdown between an iron-fisted mayor intent on covering up their shame and a progressive teacher who refuses to tolerate his victim-blaming. “A powerful human story with the timeless, elemental feel of a revenge Western.”—Hollywood Reporter
Alice, now a woman, awakes in a magical land with no idea how she got there, and her very life is at stake if she cannot escape.
While harbouring impure thoughts in the shower, Haim-Aaron (Aharon Traitel), a young ultra-Orthodox Yeshiva student, suffers the ultimate existential crisis. Therefore, so too must his father. In Tikkun, God’s test of Abraham is turned upside down against the dark night of contemporary Jerusalem. Avishai Sivan’s supremely controlled study of newly minted doubt—and decidedly un-Orthodox behaviour—is unlike any Israeli film you’ve seen. Prepare to be shocked.
Continuing the visual experimentation with time-lapse photography and landscape that made his Tectonics such a unique and mesmerizing event, Peter Bo Rappmund turns his camera lens on one of the world’s longest crude oil pipelines, the 1,300-kilometre Trans-Alaska Pipeline, stretching from Prudhoe Bay in the north to Valdez in the south. "Astonishing images and rhythms arise, capturing the complex intersections at which industrial and natural sublimes meet, and suggesting a new politics of the petro-image."—Museum of Modern Art
Former martial arts champion Andreas Marquardt’s life isn’t defined by victories but rather by vicious cycles. The product of unthinkably abusive parents, contempt came easily, setting him on a self-destructive path demarcated by pimping and prison. Rosa von Praunheim’s unflinching docudrama reopens Marquardt’s old wounds through stylish re-enactments and profiles how one woman’s devotion—or is it masochism?—steers him towards hard-won redemption.
A meeting with a Holocaust survivor (Eli Wallach, in his last performance) teaches a self-involved young man that life can change in a moment.
Following the untimely passing of her mother, a middle-aged woman struggles to cope with caring for her elderly father in their family home.
Romanian auteur Corneliu Porumboiu is at the height of his low-key powers in this affectionate tale of Costi, a dutiful father who’s plunged into a stone-faced caper comedy when he catches wind of a fortune supposedly buried on a nearby estate. Indulging his fantasies of striking it rich, Costi instead spends a fateful weekend unearthing old disappointments, revisiting Romanian history and navigating the loopholes presented by local bureaucrats. “A deadpan gem…”—Variety
An Australian and a Turkish soldier encounter one another between the Turkish trenches during WW1.
Jordan Paterson’s involving docudrama delves into a little-known chapter of Canadian history. During World War I, 140,000 indentured Chinese labourers were secretly transported from Vancouver to Halifax in locked trains and then shipped to the Western Front to dig trenches and clear the dead. Through intrepid research, interviews, rotoscoped animation and re-enactments, Paterson backs Voltaire’s assertion that “history is nothing but a pack of tricks we play upon the dead.”
This is a story about clothing. It’s about the clothes we wear, the people who make them and the impact the industry is having on our world. The price of clothing has been decreasing for decades, while the human and environmental costs have grown dramatically. Andrew Morgan’s The True Cost is a ground-breaking documentary film that pulls back the curtain on an untold story and asks us to consider who really pays the price for our clothing? "Gut-wrenching and alarming."—Elle
Rama (Life of Pi’s Suraj Sharma) is flushed out of rural life when he learns that his brother is missing in Mumbai. As a search for answers thrusts him into the metropolis’ chaos, he forges letters from his sibling to his mother in hopes of sparing her heartbreak. In turn, Prashant Nair crafts a moving story about devotion and discovery. "The film’s takes on immigration, country-city contrasts and youthful dreams of the future are lovingly detailed…"—Hollywood Reporter
These days, you don’t need to be on TV to find fame and fortune as a musician.
A series of sticky notes make for a very difficult workday.
Two people meet on a kyogen stage, in an ophthalmology clinic and at a sushi counter. By the director of Futon and Show Hut. (TR)
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
Shot in a single astonishing take, this tour-de-force heist thriller plunges us into the predicament of Victoria (Laia Costa), whose “one crazy night” in Berlin grows increasingly perilous as she’s roped into a bank robbery. Such technical audaciousness only heightens the narrative’s tension, setting the stage for a dizzying climax that’s precisely the sort of spectacle best seen on the big screen. “A kinetic, frenetic, sense-swamping rollercoaster ride.”—Hollywood Reporter
Guy Édoin brings us the engaging story of an internationally famous French/Italian actress (Monica Bellucci) who arrives in in Montreal to shoot a movie and reconnect with her university-aged son (Alyosha Schneider). Their fates collide with those of a nurse (Pascale Bussières) and paramedic (Patrick Hivon) during a disturbing event in Ville-Marie Hospital’s emergency room.