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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.
Alexander Carson’s first feature is part coming-of-age story, part art-cinema meditation on photography, souvenirs and collections. The newest offering from North Country Cinema (The Valley Below) conjures a tender and haunting portrait of friendship and faith in the 21st century, following a group of young artists on a search for new mythologies and invoking a cinematic landscape where classical literature collides with new wave aesthetics and 90s pastiche.
Holing up in a vacant apartment and surveilling the woman (Stephanie King) across the way is hardly glamourous work but Parker (Lindsay Farris) desperately needs the supposedly “easy money.” As things go bump in the night and Parker’s health, both mental and physical, takes a turn for the worse—oily black vomit rarely bodes well—he’s tormented by hallucinations, memories and dreams. In turn, Joseph Sims-Dennett ratchets up the Polanski-indebted paranoia until it reaches its breaking point and Parker follows suit. “For sheer ambient dread, it’s aces.”—Indiewire
A lyrical study of an all-but-abandoned company town that withered and died the moment its resources had been plundered.
Miss Sumida is acting in a TV ad for an impoverished company and a demonic boss. But what’s wrong with the octopus? (TR)
Chizu never knew her late granddad, but learns more than she expected from his collection of pressed plants. (TR)
Radu Muntean’s thriller creates a sustained level of suspense with skilful restraint, establishing a moral dilemma for both viewer and protagonist to wrestle with. Sandu believes he’s overheard a violent crime perpetrated by a neighbour but refuses to divulge any details to the police. As we attempt to decipher Sandu’s motivations, maladies endemic to modern Romanian society are revealed. “A poignant meditation on responsibility, guilt and community…”—Hollywood Reporter
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
An emergency-services operator fields a call from a desperate young mother whose house is on fire.
An ex-cop finds himself in a life-altering dilemma when his old partner rounds him up to take care of some unfinished business.
Like his father before him, Sheikh Rehman has spent a lifetime designing and painting Bollywood film posters for Mumbai’s ancient Alfred Talkies cinema. His huge banners teem with the energy and action one expects from the films themselves. But times are changing—the Alfred Talkies’ audience is dwindling and plastic posters are becoming the norm… Florian Heinzen-Ziob and Georg Heinzen’s alternately vibrant and elegiac film holds focus on the colourful Rehman, a real artist who energetically plies his trade even as the only life he has known disappears around him.
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
In 1978, Guy is found dead in the basement of the family home in a small village in Quebec. The real cause of his death remains a mystery for most of his family. Years later, his son David, now a loving father of two children, secretly still carries the weight of this tragedy. Likewise, David’s daughter must contend with her father’s suffering. VIFF favourite Anne Émond directs this accomplished drama about life, family, forgiveness and grief.
A teenaged boy uses time travel in a series of attempts to come out to his crush—but does practice make perfect? (This project was produced with Three Dollar Bill Cinema.)
The sixth of Soda’s excellent “Observational” documentaries shows us everything there is to know about catching, shucking and selling oysters, but its interest goes beyond molluscs. Despite a recent influx of fishermen from Fukushima (refugees from the tsunami), the small oyster factories on the coast north of Okayama are in decline—largely because the next generation doesn’t want to run them. The solution: import labour from China. Soda’s focus gradually shifts from oysters to Sino-Japanese relations. Tony Rayns