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.
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
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.
When Andorra—that tiny-yet-wealthy principality high in the Pyrenees—decided it needed a fabulous new art gallery to rival Bilbao’s, invitations went out to the world’s top architects. Norman Foster, Zaha Hadid, Frank Gehry, Jean Nouvel and Dominique Perrault were among the heavy-hitters who not only took on the design competition but consented to be part of this warts-and-all film. “A documentary that exposes how ’starchitects’ really work… Compulsive viewing."—Guardian
An enormous death for an enormous grasshopper requires an enormous prayer. (TR)
In the wake of Fukushima, debate over whether we were safeguarded against similar nuclear disasters was conspicuous by its absence. Peter Galison and Robb Moss’ documentary is certainly a conversation starter. Pulling back the curtain on weapons manufacturing and nuclear-waste disposal, it reveals a New Mexican desert that isn’t so much a final resting place for radioactive materials as a ticking time bomb. Skilfully incorporating animation, this explosive investigative documentary speculates at how future generations will contend with the fallout from our sins.
Preteen power fantasies don’t come any more entertaining than Jon Watts’ Amblin-on-adrenaline scenario. Wandering aimlessly, eight-year-old best friends Travis (James Freedson-Jackson) and Harrison (Hays Wellford) happen upon an abandoned police car with the keys dangling from the ignition. What are they to do but take it for a joyride? Unfortunately for them, an extremely dirty cop (a villainous, moustachioed Kevin Bacon) needs what’s stowed in the trunk and sets off in hot pursuit. “There’s something mythic about the story unfolding before us…”—Vulture