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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.
The meteoric fall of former IMF chief Dominique Strauss-Kahn is luridly rendered and lent enthralling velocity by Abel Ferrara in this debauched, sexually explicit sensory assault starring a magnificently vile Gérard Depardieu as gluttony personified. "A bluntly powerful provocation that begins as a kind of tabloid melodrama and gradually evolves into a fraught study of addiction, narcissism and the lava flow of capitalist privilege."—Variety
In a drought-ravaged Oregon of the near future, a teenage girl (Haley Lu Richardson) resourcefully defends her working well. Production designer Tom Hammock (You’re Next) seamlessly transitions to director, combining elements of gritty Westerns and post-apocalyptic thrillers into an immaculately realized, utterly nightmarish tale of survival. "The Well doesn’t need a gimmick—it’s as brutal and beautiful as genre flicks get…"—LA Weekly
Yan, Simon, Roxanne, Maxime and his sister Lily are in their early 20s and absolutely anything seems possible. They’ve been friends forever and the future is bright. Then, on a lovely summer’s day, Yan dies in a car crash… Director Julie Hivon follows their desperate attempts to make some kind of sense of life without Yan.
Three bullied teenagers discover an unexpected solution to their problems.
"Young people today are too often found in a space of social homelessness, where we are invisible in public discourse, and the value of our lived experience is reduced to teenage weirdness." A poetic statement of what youth need.
Fierce rhythms and ferocious humour drive Damien Chazelle’s riveting film about an ambitious jazz drummer (Miles Teller, overdue for stardom) pushed beyond his breaking point by an instructor who takes tough-love to extremes (J.K. Simmons, elemental). "Unique, personal, transfixing and transforming… A pedagogical thriller and an emotional S&M two-hander."—Film Comment. Winner, US Grand Jury Prize: Dramatic; Audience Award: US Dramatic, Sundance 2014.
Shailene Woodley (The Fault in Our Stars) plays the insecure suburban daughter of a seriously disturbed mother (Eva Green, unforgettable) who disappears without a trace in Gregg Araki’s skewed and provocative 80s-set drama. "Araki… seizes on White Bird as a chance to explore familiar issues of body image, sexual awakening and extreme family dysfunction with his trademark mix of uneasy seduce-and-repel tactics."—Variety
The sun rises and sets, but we make lights of our own. Three sharp vignettes by a veteran avant-garde director… with a sci-fi punch line. Tony Rayns
Jean-Marc Vallée follows up on the Academy Award-winning Dallas Buyers Club with this powerful adaptation (by Nick Hornby, no less) of Cheryl Strayed’s best-selling memoir. The perennially underrated Reese Witherspoon is better than perfect in the role of the author, a woman who, following the death of her beloved mother (played wonderfully by Laura Dern), seeks to vanquish her demons by hiking 1,800 kms of the Pacific Crest Trail.
For sheer entertainment value, you’ll be hard-pressed to beat this outrageous anthology film. One of Cannes’ most buzzed about discoveries, Damián Szifrón’s third feature plays like a calling card from a preposterously talented newcomer, it’s so chock-full of crazy ideas and verve. “Delicious, horrible, scary and scabrous… Szifrón brings off a very difficult trick: making something genuinely funny and genuinely scary at the same time."—Guardian
Three of the 270,000 kids living on the streets of Ethiopia’s Addis Ababa are the focus of Ventura Durall’s moving and complex portrait of survival and solidarity. Daniel, 9, lives in an abandoned car with Yohannes and Habtom, both 12. They scrounge, thieve and evade the violent gangs that surround them. Eventually, they decide to journey to their respective villages for the first time in years…
"Nuri Bilge Ceylan [Once Upon a Time in Anatolia] is at the peak of his powers with [this] richly engrossing and ravishingly beautiful magnum opus… [The film] tunnels into the everyday existence of a middle-aged former actor turned comfortably situated hotel owner—and emerges with a multifaceted study of human frailty whose moral implications resonate far beyond its remote Turkish setting."—Variety. Winner, Palme d’Or, Cannes 2014.
A failing marriage leaves a woman sleepless and shrinking from sight.
A monstrous case of manipulation lies at the heart of Daniel Rodríguez Risco’s stylish psychothriller. Obsessed with having a child, 45-year-old widow Silvia (Vanessa Saba) tricks the naïve Mercedes (Mayella Lloclla) into accepting a room in her home and arranges a meeting with young handyman Jaime (Manuel Gold). When Mercedes gets pregnant, Silvia will stop at nothing to claim the baby…
An entrancing coming of age story, this is a superb companion piece to Alice Rohrwacher’s remarkable debut, Corpo Celeste. Drawing on Rohrwacher’s own childhood, it’s the tale of a young girl forging her identity while her beekeeper father attempts to sidestep financial ruin. "A wistful but no-tears swan song… The tone hovers mysteriously between dream and reality…”—Hollywood Reporter. Winner, Grand Prix, Cannes 2014.
Taking her cue from the ancient Japanese fable (beautifully animated here) of the wounded crane, nursed back to health by a peasant, that seeks to show her gratitude through a gift, Linda Hoaglund’s (ANPO: Art X War) deeply felt portrait of the animal-rescue movement shows how our relationship to our fellow creatures is evolving and benefitting not just the rescued animals, but the rescuers as well.
Anlo Sepulveda and Paul Collins’ visually stunning (much of it is shot underwater) and totally mesmerizing chronicle of Texas’ San Marcos River—its history, its place in First Nations’ mythology, its more utilitarian position in modern times, its uncertain future—has been compared to Baraka and Koyaanisqatsi for the way it forces us to contemplate our relationship with the natural world. Winner, Audience Award, SXSW 2014.
Nicole (Julianne Côté ) has some growing up to do in this sweetly absurd, wryly comic third feature from Stéphane Lafleur (Continental, a Film Without Guns). Vibrantly shot in textured black-and-white 35mm, the appealing dramedy displays a disciplined visual sense, a good ear for dialogue and characters that become more endearing as the episodic action progresses. "Unconventional and slyly entertaining…"—Screen
Yves Saint Laurent receives a suitably stylish, well-tailored biopic courtesy of director Jalil Lespert, who delves into the iconic designer’s meteoric rise, relationship with Pierre Bergé (Guillaume Gallienne) and creative crises. Pierre Niney "doesn’t play Saint Laurent so much as embody him… [and] Ibrahim Maalouf’s score occasionally dares to go for baroque or broke, lending an operatic quality to the proceedings that suits the material.”—Hollywood Reporter
"Two young women serving out their military service as office workers on a remote desert army base play out the inanity and insanity of military bureaucracy in… Talya Lavie’s aptly titled black comedy… [The film], full of unexpected twists and turns, inventively recasts conflict in decidedly non-heroic, absurdist white-collar terms…"—Variety. Winner, Best Narrative Feature, Nora Ephron Prize, Tribeca 2014.