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.
Afghanistan, New Zealand
While film preservation isn’t a foreign concept on these shores, devoted efforts here pale in comparison to the outright heroism displayed by the three brave Afghan cinephiles profiled in Pietra Brettkelly’s inspiring documentary. Having risked their lives to hide an 8,000-hour film archive from the Taliban regime, they now seek to restore it and reacquaint their countrymen with past monarchs, invasions and bygone days when Afghan women wore miniskirts. They’re not just striving to save a century’s worth of celluloid but also their nation’s history and culture.
After years of familiarity, could one small act and phrase rekindle a love’s lost romance?
Argentina, South Korea
Shot in luminous black and white and set in the desert-like Pampas during the early 19th century, Benjamin Naishtat’s eerie combination of post-apocalyptic sci-fi and post-modern Western posits a land fallen into anarchy and populated by armed groups vying for supremacy… "Gorgeously shot and edited with edgy intensity… Like Lisandro Alonso’s Jauja, Naishtat’s haunting sophomore feature provides a poetic access point for grappling with Argentinean identity."—Indiewire
Having been nurtured and accepted as a gay man by his parents, Joshua finds the courage to confess that he’s actually not…
In a must-win situation a soccer team’s manager struggles to win the game on his own terms.
What would you do if you were a middle-aged man in an unhappy marriage who inadvertently discovered you had two weeks to live?
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
Delinquent teenager Donnie ends up back in a juvenile detention facility, caught in a perennial cycle of conflict he seems unable to break.
As his wife prepares brunch on a Saturday morning, Harvey slumps into his chair and tells her about an eerie and frightening dream he had.
What begins in 1977 as “an annual personal summary report” (read: self-recorded video journal) by 19-year-old Sam Klemke evolves into time-lapse display of years slipping away right before our eyes. When Klemke—an early adopter of the self-involvement that’s become prevalent in the Internet era—becomes an overnight YouTube sensation some three decades into his project, director Matthew Bate enters the frame. As he assumes control of Sam’s archive of footage, the question arises: Whose film are we now watching? “An existential message in a bottle.”—Variety
A young girl, ignored by her volatile, separated parents, does increasingly desperate things to earn money for a school trip to the aquarium.
What’s it like growing up transgender? Five transgender young people talk about what life has been like for them.
Cecil the mantis goes on his terrifying first date. (This project was produced at the Academy of Interactive Entertainment.)
The first film from acclaimed theatre director Simon Stone brings together some of Australia’s finest actors in a contemporary reworking of Ibsen’s The Wild Duck. The mill is closing, but for its owner, Henry (Geoffrey Rush), this is also a time of hope: his estranged son Christian (Paul Schneider) has returned to serve as his best man. Those hopes turn to ashes when Christian reconnects with his old friend Oliver (Ewen Leslie) and stumbles across long-buried family secrets…
In this beautiful and disturbing period piece, a family faces a dramatic decision on a night that will be remembered always.
“The Exquisite Corpus is based on various erotic films and advertising rushes. I play on the “cadavre exquis” technique used by the Surrealists, drawing disparate body parts constellating magical creatures. Myriad fragments are melted into a single sensuous, humorous, gruesome, and ecstatic dream.”
Austria, Denmark, Ireland
In a nonfiction work of tremendous vision, Michael Madsen pre-enacts how an alien invasion might unfold. Rather than wild speculation, this modern equivalent of Welles’ War of the Worlds broadcast draws from erudite sources inside the United Nations’ Office for Outer Space Affairs. Despite its factual foundations, Madsen’s film still inspires wonder thanks to an enthralling interview technique that sees its subjects directly addressing the camera, putting us in the place of the otherworldly visitor and leaving us to question humanity’s role in the universe.
As darkly surreal and deadpan droll as ever, Alex van Warmerdam’s follow-up to Borgman is a different beast entirely. Memorably set around a lakeside cabin, it’s a clever comedic thriller in which the titular heroes (the druggy Bax is played by van Warmerdam; the family man Schneider by Tom Dewispelaere) are hit-men charged with taking each other out… "[In this] wicked little outing… the more absurd the circumstances, the more entertaining the movie gets."—Variety
Anna Muylart has crafted one of the year’s biggest crowd pleasers! A cheerful São Paulo housekeeper (the wonderful Regina Case) finds her life—and the lives of the high class family she cares for—comically turned upside down when her estranged daughter (Camila Mardila) shows up and unleashes a welter of issues relating to class difference, infatuation, motherhood and privilege. "Beautifully written and acted with precision, this film’s a winner."—Hollywood Reporter
Brazil, France, Argentina
Altruistically abandoning her promising law career in order to teach the impoverished, socially conscious Paulina (Dolores Fonzi) finds herself horribly out of her depth in an Argentinean backwater. In the wake of a sexual assault, her convictions are tested and Santiago Mitre’s provocative drama is elevated into a complex examination of the emotional ramifications for victim, perpetrators and those who stood idly by. “Fonzi is riveting in a demanding role…”—Hollywood Reporter