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.
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.
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 externalises 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
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’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."
Kwak’s magnificent thriller recreates a Busan kidnapping case from 1978, a time of student protests against fascistic government—and of rampant police corruption. The month-long search for a missing schoolgirl brings seen-it-all cop Gilyoung into conflict with rival sections of the force, and into an uneasy alliance with a psychic. Important truths about Korean society are unearthed along the way, but the suspense is killing. Tony Rayns
The fading star of a resident acting company desperately clings to the past when the theatre owner considers renting out the place.
The one thing Josephine (“Jo”) Bradley believes about herself is that she’s a good cop. Suddenly, the body of Charles Xie, the reformed junkie son of a prominent billionaire, is found ritualistically buried. Charles’s case get assigned to Jo on one of the worst days of her life following a cancer diagnosis and a difficult decision about treatment. Given this news, she is forced to put her personal issues aside when she goes head-to-head with the tyrannical and powerful patriarch, Li-Rong Xie. Risking her career, Jo will tear the Xie family apart and reveal long held secrets in order to solve the murder of their youngest son.
The pressures of courtship are pushed to absurdist extremes in this outrageous comedy from Yorgos Lanthimos (Dogtooth). Confined to an isolated resort, singles (including Colin Farrell) must take a mate within 45 days or be transformed into animals. As Farrell falls in with a band of rebel loners (who count Rachel Weisz among their members), Lanthimos wrings much pathos from his outlandish premise. “A wickedly funny, unexpectedly moving satire… Perversely romantic…”—Variety
The titular “club” in Pablo Larraín’s incendiary follow up to No is a group of disgraced priests who’ve been banished to a purgatorial halfway home on the Chilean coast. When the church investigates a tragic incident involving these men, the findings lay to waste any notions of a good/evil binary. Likewise, Larraín proves that comedy and condemnation needn’t be mutually exclusive. “The film’s compassion is strongly felt, its mordant humour glinting like a blade.”—Guardian
The smartest of all the graduates from Hong Sangsoo’s school of hard knocks, Lee Kwangkuk runs rings around both linear storytelling and Freudian dream-interpretation in his delicious new feature. An actress storms out of a play when nobody shows up to see it but soon finds herself tangled up with a mysterious cop—while trying to dump her boyfriend. Ineffably droll and consistently surprising, this is a comic experience like no other. Tony Rayns