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.
After a traumatic incident at a raging party, 17-year-old Tina (Carolyn Genzkow) discovers that a grotesque creature is following her like a shadow. Alarmingly, their bond grows increasingly symbiotic. Is this psychosis or living proof that every teenage year is a fresh hell? A title card advises of the health hazards of the stroboscopic visuals found in AKIZ’s EDM-propelled “narcotic-mindf**k-melodrama.” However, nothing warns of the unshakeable disquiet that lingers well after the last beat. "A raucous mashup of It Follows and Basket Case…"—Hollywood Reporter
Having fallen in love again after her divorce, Nahid (Sareh Bayat) finds many obstacles lying in wait should she choose to follow her heart. Not only would remarriage mean surrendering custody of her son, it would also entail forsaking the semblance of independence she’s fought so hard to establish. Ida Panahandeh’s deeply humane melodrama recalls Oscar-winner A Separation in its compassionate and compelling depiction of contemporary Iran’s legal and social constraints.
Shot in Miyoshi and nearby Hiroshima, Fujikawa’s exquisitely crafted debut feature is a kind of coming-of-age story. It centres on junior-high-schooler Yuta’s summer: when not searching for fossils of ancient whales and shellfish, he has to cope with a friend moving away, his mother taking a new partner and his grandfather dying. The non-pro cast is great, and so is the integration of documentary elements, but the real star is Fujikawa himself, a master in the making. Tony Rayns
Having cajoled a friend (Kristen Wiig) into carrying their baby, a Brooklyn artist (director Sebastián Silva) discovers that his sperm count isn’t up to snuff and taps in his unenthused partner (Tunde Adebimpe). His disastrous video installation and increasingly unstable neighbour ensure that chaos reigns in Silva’s incisive, merciless satire. "A startling drama of extreme moral ambiguity… [and] a vibrant, thoughtful piece about modern life…"—Hollywood Reporter
A brilliantly conceived and executed work that is as emotionally affecting as it is intellectually questioning, David Evans’ layered documentary follows two elderly men, both the sons of high-ranking Nazis responsible for thousands of deaths, on a trip to Poland and Ukraine. Once there, ghosts from the past are unearthed, and profound psychological insights about the ties that bind come to light. "A bracingly rigorous examination of inherited guilt and pain, [this] is an extraordinary documentary…"—Screen
After having seen his estranged uncle on the bus for the first time in years, Eric weighs the merits and risks of reaching out.
Overwhelmed by past mistakes, a young man returns home and finds solace in the strength of his recently widowed mother.
Two brand new shorts by Beat Takeshi, made for his current TV show. He stars himself in the faux-sentimental Asa (it means “Morning”); he wrote and directed the sardonic News. (TR)
An abstracted landscape portrait of smugglers on the border of Portugal and Galicia.
Holly’s (Abigail Hardingham) suspicions that Rob (Cian Barry) is still haunted by Nina (Fiona O’Shaughnessy), his deceased ex, prove (blood) spot on. Any time they try to have sex, an undead Nina manifests from his bed, naked and bloodied with cutting remarks at the ready. Holly, who’s odder than anyone gives her credit for, tries to include Nina, but she’s having none of it. Darkly hilarious and charmingly deranged, Ben and Chris Blaine’s debut amusingly renders the macabre mundane as it examines “what we carry with us.” “Strikingly original…”—Screen
More than four decades after Montreal’s infamous Sir George Williams Affair was sparked by allegations of faculty discrimination against black students, Ninth Floor reopens the file on a watershed moment in Canadian race-relations and one of the most contested episodes in the nation’s history. Making an audacious foray into nonfiction, writer and director Mina Shum (Double Happiness) engages the original protagonists in a compassionate cinematic exercise of reckoning and redemption.
Before the Islamic Revolution banned solo performances by women, Iran boasted popular female vocalists like Delkash and Googoosh. No longer willing to see women’s voices silenced, musician Sara Najafi aspires to stage a concert in Tehran. Her brother Ayat helms this revealing documentary that details the bureaucratic obstacles and theological arguments that stand between her and such a seemingly simple goal. And while the women’s glorious songs lend the film uplift, it’s Sara’s courageous determination in battling institutional discrimination that truly inspires.
In a world where women procreate asexually, male babies have become passé and an entire gender faces extinction… What’s a guy to do? Well, the youngest man alive (Patrick Gilmore), who toils as a housekeeper for a West Vancouver all-female family, is unaware that he’s about to become a key player in a battle for survival. Camera Shy’s Mark Sawers is at the height of his satirical powers with this wry speculative mockumentary.