Film Festival Series
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.
When her camping trip is ruined by a storm, a woman takes refuge in an empty summer home and finds what she’s been looking for.
Would god-like powers have solved your childhood problems? This stop-motion memoir suggests that they certainly might’ve helped.
A filmmaker (played by director Bertrand Bonello) in search of the definitive image of "the monstrous" forms the backbone of Antoine Barraud’s fascinating mélange, one part drama, one part art history lesson, one part homage to past cinematic masters Buñuel and Hitchcock. Jeanne Balibar and Géraldine Pailhaus (playing the same art historian) accompany our intrepid director through a tour of some of Paris’ most quixotic museums. The effect is "spellbinding."—ArtForum
An emergency-services operator fields a call from a desperate young mother whose house is on fire.
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
Cecil the mantis goes on his terrifying first date. (This project was produced at the Academy of Interactive Entertainment.)
If you can’t take the nudity and coarse language, stay out of Salam Kahil’s deli. The moment Lewis Bennett’s fascinating documentary takes us inside the shop, the hilariously crass Salam lets fly with a barrage of profane insults and ribald anecdotes. As he rewrites his own history on a whim, we’re left to wonder how an irascible Lebanese male escort actually ended up in Surrey serving the largest sandwiches known to man. With humour and humanity, Bennett unearths the truth.
For decades, The Dollhouse stood in a frozen field just off of a prairie highway. Then, a match was lit and it was lost forever.
Catherine Deneuve, as a concerned judge dealing with delinquent youth, and newcomer Rod Paradot as Malony, the teen offender she counsels, are the twin poles in Emmanuelle Bercot’s sobering drama that traces ten turbulent years in Malony’s life. As Malony is shuffled from agency to agency, "Bercot studiously avoids the sort of catharsis-oriented pop psychology the genre so often peddles… [while] taking a page from the Dardenne brothers’ brand of social realism…"—Variety
For one man in India, the experience of sharing an elevator with a stranger has drastic psychological consequences.
This remarkable debut, set in mystical Guizhou province, follows country doctor Chen Sheng on a road trip to find his abandoned young nephew Weiwei. But time flows mysteriously in this poetic work, perhaps even in reverse. A grown-up Weiwei appears on a broken bike in a picturesque riverside town, where beautiful tour guide Yangyang draws Chen towards a moving rendezvous with his past lost love. Chinese lyric poetry becomes radiantly impressionistic cinema. Shelly Kraicer
A humorous spectacle reveals the fallacy of the selfie while restoring the humanness of the stripped-down “calendar girl.”
Casablanca, Notorious, Voyage to Italy… That Ingrid Bergman, three-time Oscar winner, is one of filmdom’s all-time greats is inarguable. Narrated by Swedish (and now Hollywood) star Alicia Vikander, Stig Björkman’s intimate exploration of Bergman’s personal and professional life benefits immensely from the cooperation of Bergman’s daughter Isabella Rossellini, who allowed him access to never-before-seen private footage, notes, letters, diaries and interviews. The result is a rich and multicoloured portrait of this extraordinary human being—in her own words.
Holly’s (Abigail Hardingham) suspicions that Rob (Cian Barry) is still haunted by Nina (Fiona O’Shaughnessy), his deceased ex, prove (blood) spot on. Any time they try to have sex, an undead Nina manifests from his bed, naked and bloodied with cutting remarks at the ready. Holly, who’s odder than anyone gives her credit for, tries to include Nina, but she’s having none of it. Darkly hilarious and charmingly deranged, Ben and Chris Blaine’s debut amusingly renders the macabre mundane as it examines “what we carry with us.” “Strikingly original…”—Screen
Matthew Taylor Blais
Two siblings endure the impact a residential school has on their relationship with themselves, one another and nature itself.
After years of familiarity, could one small act and phrase rekindle a love’s lost romance?
In Johannesburg, 21-year-old Afro-hipster Ayanda (the captivating Fulu Moguvhani) fights to keep alive her late father’s legacy—his car-repair garage. How? Add some style! Sara Blecher’s (Otelo Burning) multicultural, colourful and vibrant drama captures the "Afropolitan" nature of the new South Africa. "Absolutely worth seeing for its representation of a modern African story, which is uniquely, distinctively African, but also urban, fresh, and contemporary…"—Indiewire
Sonia Boileau’s debut is a taut psychological drama about Lydia, a young Innu woman who works at a convenience store in a small First Nations community in rural Quebec. As she prepares to close up shop one night, a masked robber holds her up at gunpoint. This traumatic experience becomes even more troubling when Lydia recognizes her assailant. She’ll soon have to make a decision that will change the course of her life. “[An] engaging social-issue drama…”—Variety