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.
Douglas Tirola’s documentary whisks us back to the 70s when a couple of overachieving college smartasses made good. In fact, to hear Judd Apatow tell it, “They became all of modern comedy.” Fueled by weed and indignation, they transformed a counterculture magazine into an empire and launched the careers of John Belushi, Harold Ramis, Bill Murray and dozens of other luminaries. "Punch-drunk and very much alive… generous and briskly entertaining…"—Variety
With a mesmerizing Michael Eklund starring as photographer Eadweard Muybridge, Kyle Rideout crafts a complex and compelling portrait of the man who’d be immortalized as both the godfather of cinema and the last American to receive a justifiable homicide verdict (for killing his wife’s lover). As fascinations distort into obsessions, Rideout skilfully employs techniques indebted to the infamous pioneer to convey Muybridge’s psychological unravelling.
In Ciro Guerra’s vibrant and wildly original feature, two explorers embark on parallel journeys—albeit 40 years apart—down the Colombian Amazon. Both are in search of a sacred flower with mythical healing powers. Both encounter a native shaman and his tales of colonialism’s devastating toll. As unlikely friendships take root, Ciro Guerra’s drama enwraps viewers in seductive visuals and alluring ethnographic details. “A soulful, strange and stunning discovery.”—Indiewire
In Rick Alverson’s latest surreal, post-Dadaist comedy, a glum stand-up (Gregg Turkington) wanders the Mojave Desert, bound for his estranged daughter but seemingly condemned to repeat the same hellish performance. Melding pungent melancholy and intoxicating psychedelia, this marks a brave and frequently brilliant offering from one of American cinema’s most independent thinkers. “It’s what new films ought to strive for: to strike back against the familiar.”—Village Voice
Bach’s beautiful St. Matthew’s Passion and how it has profoundly affected the lives of, among others, opera director Peter Sellars, conductor Pieter Jan Leusink, writer Anna Enquist and soprano Olga Zinovieva, are the twin subjects of Ramón Gieling’s stunningly shot and exquisitely choreographed inquiry into "a language beyond understanding." In an abandoned Amsterdam church, a homeless choir joins Leusink’s orchestra and soloists in a performance sure to raise goosebumps for music-lovers of all persuasions.
A trip to Romania is like a trip back in time for a stylish Italian woman, who seems out of place in what has become a poor and impoverished country.
It’s a scenario familiar to Canadians: oppressed indigenous people fighting to rebuild and assert their rights. On this occasion, the setting is New Zealand’s beguiling Te Urewera forest region. The players? A fiercely independent Tuhoi tribe negotiating a settlement and apology from the Crown while constructing an architectural gem of a community centre through sustainable methods. This confluence of honoured tradition and progressive environmentalism begets a stirring depiction of indigenous pride, and both architectural and diplomatic ingenuity. Directed with finesse, sensitivity and clear eyes by Sarah Grohnert.
Delving into the psychological manipulation and shock therapy of Yale’s infamous “obedience experiments” of the 60s, Michael Almereyda unleashes daring cinema that demands to be seen. As pioneer/puppet master Stanley Milgram (Peter Sarsgaard) pushes subjects past their breaking point, he also shatters the fourth wall, offering haunting glimpses into the mind of a man who’d be branded a monster. "A conceptually exciting, intellectually searching portrait…"—New York Times
“The Exquisite Corpus is based on various erotic films and advertising rushes. I play on the “cadavre exquis” technique used by the Surrealists, drawing disparate body parts constellating magical creatures. Myriad fragments are melted into a single sensuous, humorous, gruesome, and ecstatic dream.”
IT technician Hervé Falciani left his job at a Swiss branch of HSBC in 2008, taking with him a hard-drive containing a database of 130,000 bank accounts held by citizens from 180 countries. Ben Lewis’ comprehensive investigation explores in detail the fallout from Falciani’s actions, particularly the very slow progress being made by tax authorities in various countries to recoup the billions hidden in secret accounts…
Imbued with the sensual, dreamy, mysterious air of adolescent longing and becoming, Carol Morley’s first dramatic feature is set in an all-girls school in late 60s Britain. A sudden death sparks a series of unsettling incidents that shake both the student body and faculty: is it a virus, mass hysteria or mischief-making? Featuring a spectacular turn from Game of Thrones’ Maisie Williams, this tantalizing, enigmatic film suggests some clues but leaves much to the imagination.
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.)
In Adam Garnet Jones’ first feature, a teenage girl commits suicide in a remote Anishinaabe community and it’s up to her brother Shane (Andrew Martin) to take care of their family. Shane was supposed to move to the city for university in the fall and was desperately trying to convince his secret boyfriend (Harley Legarde-Beacham) to come with him. When forced to choose between devotion to his family or his desire to dictate his own future, what will he do?
While film preservation isn’t a foreign concept on these shores, devoted efforts here pale in comparison to the outright heroism displayed by the three brave Afghan cinephiles profiled in Pietra Brettkelly’s inspiring documentary. Having risked their lives to hide an 8,000-hour film archive from the Taliban regime, they now seek to restore it and reacquaint their countrymen with past monarchs, invasions and bygone days when Afghan women wore miniskirts. They’re not just striving to save a century’s worth of celluloid but also their nation’s history and culture.
A fever dream within a dream, the latest transmission from celluloid fetishist Guy Maddin (assisted by young co-director Evan Johnson) is part campy, whacked out tribute to vintage Hollywood melodrama, part anguished crypto-confessional and all brilliant: a passionate, virtuoso pastiche that is also perversely original and sui generis. The perfect date movie for mad cinephiles! “[An] inventive, audacious, and outright hilarious tour de force whatzit.”—Cinema Scope
An exemplary employee in an old Swiss archive starts responding to all orders with, "I would prefer not to." Melville’s famous phrase has fatal consequences.
What would it be like to live alongside one of the shapers of human events, in their youth, before they’ve transformed history? In Fiona Rayher and Damien Gillis’ documentary, we follow Caleb Behn, a young Dene lawyer locked in a battle with the oil and gas industry. He may become one of this generation’s great leaders—if he can discover how to reconcile the fractures within himself, his community and the world around him through the blending of the modern tools of law with ancient wisdom.
June 1940: German troops march into Paris. Jacques Jaujard (Louis-Do de Lencquesaing) and Count Franziskus Wolff Metternich (Benjamin Utzerat) work to protect the treasures of the Louvre Museum… This is just the jumping-off point for Russian master Alexander Sokurov’s (Russian Ark) gorgeously shot (by Amélie’s Bruno Delbonnel) exploration of the relationship between art, culture and power that traverses the centuries and demands to know what art tells us about ourselves.