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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.
Lured from Ireland by the American Dream, Eilis (Saoirse Ronan) instead lands in a hardscrabble reality of cramped boarding houses and grungy dancehalls. As homesickness grips her, she’s also torn between two admirers (Domhnall Gleeson and Emory Cohen). With Nick Hornby scripting, John Crowley crafts a stirring 50s-era immigration tale that also serves as an exhilarating profile of female empowerment. "Classily and classically crafted in the best sense."—Hollywood Reporter
A humorous spectacle reveals the fallacy of the selfie while restoring the humanity of the stripped-down “calendar girl.”
A compendium of short films that inventively explore the chaotic streets, sleepy suburbs, abandoned ghost towns, untamed wilds and repositories of curiosities that dot our country’s landscape.
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.
Somewhere in Isan, in Thailand’s Deep Northeast, an ancient royal cemetery is being disturbed by developers. Nearby a school pressed into service as an army hospital houses soldiers with a mysterious sleeping sickness. What’s the connection? Apichatpong’s inimitable mix of dream, fact and speculative fiction teases out the answer, with some steely political implications. Very different in tone and style from Uncle Boonmee, but no less haunting. Tony Rayns
Spoken-word artist Shane Koyczan gives us a new perspective on Charlie Chaplin.
Think Pan’s Labyrinth meets Carnivale and you’ll still be unprepared for this astonishing debut from Done Four Productions and director Nicholas Humphries. In this Dust Bowl-era reimagining of The Little Mermaid, an amphibious siren (Katelyn Mager) falls prey to a nefarious benefactor (Game of Thrones’ Iwan Rheon) and ends up in a magical turf war. Sumptuous production design and sinister storytelling conjure a seductive fantasy world.
Retired police profiler Ricardo passes his days mired in boredom, which is manifested in an ambiguous morality and a dark secret fetish.
When elderly Ingrid offers old friend Gavin some cherry cake in exchange for his help with the yard work, it’s only one of the delights on the table.
The long-awaited follow-up to 2010’s Attenberg, Athina Rachel Tsangari’s new comedic drama has her skewed sensibility and mordant wit pointed at the male psyche and its absurd penchant for competition. Six male acquaintances—they certainly aren’t friends—find themselves on a luxury yacht, where they engage in an escalating series of challenges that threatens to turn nasty… "A committedly deadpan comedy of manners, morals and men behaving weirdly…"—Variety
You’ve never seen Chinese officials like this. Geng Yanbo, the outlandishly charismatic mayor of Datong, has granted amazing access to documentarian Zhou Hao, who shoots an insider’s portrait of one way to wield power in China. Charming, brutal, wheedling and commanding, Geng is bent on transforming his dusty provincial capital into a tourist showpiece. His subjects/citizens acclaim his rule or get out of his way. People’s defender or oppressor? You decide. Shelly Kraicer
Tim Roth delivers an understated performance as a hospice nurse whose selfless devotion to the terminally ill sometimes distorts into more inscrutable behaviour in Michel Franco’s deft character study. Recalling Michael Haneke’s Amour in its unsentimental depiction of life’s closing chapters, this mesmerizing psychological drama also examines the heavy toll exacted on this caregiver who’s at ease with impending death but at a loss with life. “A captivating work.”—Screen
Hailing from opposite ends of the Earth, two accomplished acrobats work towards the same goal: to use the art form of circus to instill hope in the youth who languish in the impoverished communities the artists once called home. Nimbly shuttling us between Nunavet and Guinea, Susan Gray’s uplifting documentary invites us to marvel as these men, whose athleticism is only exceeded by their altruism, guide the most marginalized of youth from their first tentative backflips to centre stage at the Vancouver Olympics and Cavalia.
Winner of the first Pulitzer Prize for writing on cuisine, Los Angeles Times food critic Jonathan Gold is a beloved and imminently quotable cultural icon in that city. Laura Gabbert’s entertaining profile gives equal weight to the man and his métier. More than any other, Gold has done the legwork to uncover the different culinary wonder spots throughout the city’s vast, largely immigrant suburbs and environs, and then done his best to contextualize his experiences. In so doing, he has turned the restaurant review into serious—and seriously fun—cultural criticism.
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
Two siblings endure the impact a residential school has on their relationship with themselves, one another and nature itself.
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
An innocent stop at a coffee bar goes sideways after an unexpected encounter with an old flame.