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#VIFF45: A Festival to Remember — The Films, the Discoveries, and the Magic of Cinema

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A three-part VanRamblings wrap-up of the 45th Vancouver International Film Festival | October 1–11, 2026

Part One: A Final Weekend Worth Celebrating

There is something gloriously bittersweet about the final weekend of the Vancouver International Film Festival. For 10 days, Vancouver’s moviegoing community has been living inside a world of discovery, moving from one cinema to another, comparing notes over coffee, arguing about performances, falling hopelessly in love with films we could never have anticipated, and wondering how on earth we are going to fit just one more screening into an already impossibly crowded schedule.

And then, suddenly, the end is in sight.

The 45th annual Vancouver International Film Festival has given Vancouver audiences an embarrassment of cinematic riches, with films arriving from Cannes, Berlin, Venice, Telluride, Toronto and the New York Film Festival. The final weekend offers one last opportunity to catch some of the year’s most accomplished international films, several of which have already become personal favourites here at VanRamblings.

Friday, October 9, begins with a particularly tantalizing double bill at the Park Theatre. At 6:15 p.m., Japanese master Hirokazu Kore-eda’s Look Back offers another opportunity to experience the director’s extraordinary gift for finding tenderness in the everyday. Kore-eda has spent a career exploring the fragile bonds between parents and children, the families we inherit and the families we create. Here, he turns his attention to youth and the nature of storytelling, bringing his customary grace and emotional intelligence to a film that understands how imagination can transform the lives of young people. His work has a way of making the apparently ordinary feel quietly miraculous.

The Friday double bill continues with James Gray’s Paper Tiger, which has attracted considerable attention on the festival circuit. The intimate crime drama features Adam Driver, Scarlett Johansson and Miles Teller, three performers whose contrasting screen personas promise a compelling study in loyalty, ambition and the dangerous entanglements of criminal life. Gray is a filmmaker fascinated by family, betrayal and the moral compromises people make in pursuit of security. With a cast of this calibre, Paper Tiger is a particularly enticing prospect.

The final weekend also brings a remarkable collection of films shared with the prestigious New York Film Festival. Friday’s offerings include Once Upon a Time in Harlem and 9 Temples to Heaven at Fifth Avenue, with Marine Atlan’s La Gradiva at International Village 9 at 8 p.m. and Andrey Zvyagintsev’s Minotaur at the Lindsay Family Stage on Granville Island at 8:30 p.m. For festivalgoers who relish the experience of discovering a film before it reaches a wider audience, these screenings are precisely what VIFF is all about.

And then there is Lukas Dhont’s Coward, VanRamblings’ favourite film at VIFF 45, screening Friday evening at the Park Theatre. The Belgian filmmaker’s First World War drama, whose stars Emmanuel Macchia and Valentin Campagne shared the Best Actor prize at Cannes, is a work of breathtaking emotional delicacy. More about that extraordinary film in Part Two of VanRamblings final column on VIFF 45.

At 9 p.m. Friday, the Vancouver Playhouse welcomes La Bola Negra, Javier Calvo and Javier Ambrossi’s ambitious historical melodrama, which won the Audience Award at this year’s Toronto International Film Festival. Moving between 1932, 1937 and 2017, the film interweaves the lives of three gay protagonists, giving a traditional historical epic a thrillingly contemporary queer sensibility. The filmmakers also shared the Best Director prize at Cannes. It is precisely the sort of ambitious, emotionally expansive storytelling that makes international cinema so rewarding.

Saturday, October 10, brings another remarkable sequence of screenings. At 11 a.m., The Only Living Pickpocket in New York opens the day’s programme at the Vancouver Playhouse. At 1:45 p.m., Ryûsuke Hamaguchi’s All of a Sudden, Japan’s Oscar submission, offers a quietly expansive meditation on human connection. Making his French-language debut, Hamaguchi explores the fragile structures that bind us to one another, with luminous, Cannes-recognized performances from Virginie Efira and Tao Okamoto. This is cinema that understands the expressive power of conversation, observation and silence.

The evening’s centrepiece is Martin McDonagh’s Wild Horse Nine, VIFF’s Closing Gala, at 6:15 p.m. at the Vancouver Playhouse. With John Malkovich leading the cast, the film arrives amid considerable awards-season anticipation. McDonagh’s gift for combining dark humour, moral unease and unpredictable human behaviour makes this a fittingly provocative way to approach the festival’s conclusion.

And for those determined to make the absolute most of Saturday, there is a 9:15 p.m. screening of NAZA at the Park Theatre. Directed by Yuval Abraham and Rachel Szor, the investigative documentary examines Israeli military targeting practices in Gaza through interviews with military insiders. The title refers to a reported intelligence euphemism for anticipated civilian deaths in airstrikes. Produced by Jonathan Glazer and James Wilson, the team behind The Zone of Interest, NAZA has become one of the festival’s most controversial and politically urgent films. Its filmmakers argue that the systems used to calculate civilian casualties reveal a devastating process of dehumanization; its claims and implications have provoked fierce debate. The film received the Special Jury Prize at Venice. Whatever one’s response, this is documentary filmmaking that insists audiences confront uncomfortable questions about technology, accountability and the human cost of war.

Sunday, October 11, is the final day of VIFF 45, and the schedule is hardly a gentle winding-down. La Gradiva returns at the Lindsay Family Stage, while Everytime screens at Fifth Avenue. Mina Shum’s Whatcha Want brings a distinctly Vancouver perspective to the final day’s offerings at the Rio Theatre at 3:30 p.m. Meanwhile, Minotaur, Zvyagintsev’s Grand Prix winner at Cannes, offers another opportunity to experience the work of a formidable contemporary filmmaker.

At the Park Theatre, Mike Leigh’s Tender Loving Care screens at 6 p.m., followed by Pedro Almodóvar’s Bitter Christmas at 9:15 p.m. And at 6:15 p.m., the Rio Theatre screens I Play Rocky, one of VanRamblings’ other personal favourites of the festival.

The beauty of VIFF, of course, is that the festival’s final screening need not be the final opportunity to see a film. Programmer Tom Charity and the VIFF Centre regularly help bring festival discoveries back to Vancouver audiences, while other titles secure conventional theatrical engagements across Metro Vancouver. It is worth keeping an eye on the VIFF Centre’s subsequent programming rather than assuming that missing a festival screening means missing a film forever.

But first, there are two films that deserve a special place in this year’s festival conversation.

Coward: Lukas Dhont’s Most Beautiful Film Yet

VanRamblings’ favourite film of VIFF 45 | Directed by Lukas Dhont | Belgium, France, Netherlands

Some films move you. Others quietly rearrange the furniture of your heart. And then there is Lukas Dhont’s Coward, an achingly beautiful, tenderly observed, emotionally transporting work of cinema that left VanRamblings with the extraordinary conviction that we had just encountered one of the finest films of the year — of any year.

At the 79th Cannes Film Festival, Dhont’s First World War drama earned the Best Actor prize for its remarkable young stars, Emmanuel Macchia and Valentin Campagne. Their performances are the beating heart of a film that could easily have succumbed to the familiar conventions of the tragic queer period drama, yet instead finds something infinitely more generous, more courageous and ultimately more life-affirming.

Set amid the brutal realities of the Belgian trenches, Coward introduces us to Pierre (Macchia), a young soldier arriving at the front eager to prove himself in a world in which courage is measured in blood, obedience and the willingness to march towards almost certain death. But Pierre’s understanding of the world begins to change when he meets Francis (Campagne), a fellow soldier with an unexpected idea: to stage a theatrical performance for their comrades.

It is an audacious proposal in a place where imagination might seem like an unaffordable luxury. Yet the makeshift theatre becomes something extraordinary — a sanctuary of beauty, laughter and human connection amid the machinery of destruction. And between Pierre and Francis, something tender and transformative begins to emerge.

Dhont, whose Girl and Close established him as one of contemporary cinema’s most sensitive observers of adolescent vulnerability, has made his most mature film to date. Here, his storytelling possesses an emotional restraint that makes every fleeting glance, every tentative touch and every moment of physical closeness feel almost unbearably precious.

The chemistry between Macchia and Campagne is simply magnificent. Dhont has a tactile, compassionate understanding of how men — queer men especially — watch other men, the way attraction and affection can reveal themselves in a look held a second too long, or in a gesture whose significance cannot safely be spoken aloud. Coward is, by turns, breathtakingly violent and sweetly, shiveringly sensual. Its most intimate moments feel less like conventional romantic scenes than like the discovery of an entirely new language.

And what a relief it is that Dhont refuses to drown that love in tragedy.

Unlike so many period tales of forbidden queer affection, Coward is not interested in dripping its canvas in despair. Dhont wants to leave us with a glimmer of hope. Actually, more than a glimmer: a wry smile of anticipation, a suggestion that all is not lost, that love can find a way even when the world seems determined to extinguish it.

This is a recuperation of queer representation as resilient and hopeful. Happiness — or, perhaps more importantly, contentment — is possible when we seek it and seize it. That assertion feels quietly radical in a film set amid the carnage of the First World War, where tenderness itself becomes an act of resistance.

Dhont does not minimize the horror surrounding his characters. Rather, he understands that the existence of beauty in terrible circumstances does not diminish suffering; it makes the preservation of our humanity all the more urgent. The theatre they create becomes an emblem of what art can accomplish when the world has seemingly abandoned its obligations to the living.

There is something almost miraculous about the film’s tonal balance. The violence is genuinely frightening, the romance achingly delicate, the humour unexpectedly liberating. Dhont allows the film to breathe, trusting his actors and the emotional intelligence of his audience. He never insists that we feel something when a glance or a silence can accomplish so much more.

And when Coward reaches its final passages, its hopefulness feels neither sentimental nor cheaply won. It emerges from everything these men have endured, from the risks they have taken and from the simple, extraordinary recognition that another person can make a life worth living.

This is sensitive storytelling at its most affecting: sweetly played, elegantly mounted, reaching towards hope not in light of war’s horrors, but in spite of them.

For VanRamblings, Coward is the film of VIFF 45. It is a reminder that cinema’s greatest achievement is not always to break our hearts.

Sometimes, it is to show us how beautifully they can mend.

VanRamblings Grade: A+

Fatherland: A Haunted Masterpiece of Memory and Exile

VanRamblings feels strongly Fatherland is the best film to screen at VIFF 45, one of the best films of the year | Directed by Paweł Pawlikowski | Poland, Germany, Italy, France

If Coward is the film that most tenderly captured VanRamblings heart at VIFF 45, Paweł Pawlikowski’s Fatherland is the film that most completely convinced us of cinema’s extraordinary power to transform history into poetry.

Pawlikowski, the modern master behind Ida and Cold War, has fashioned another immaculate black-and-white work of European cinema, an 82-minute elegy of such precision, intelligence and emotional depth that its brevity feels almost audacious.

Winner of the Best Director prize at Cannes, Fatherland is a gorgeous, gripping drama whose resonance extends far beyond its carefully chosen postwar setting.

The film centres on Nobel Prize-winning writer Thomas Mann (Hanns Zischler) and his daughter Erika (Sandra Hüller), the actress, writer and rally driver. In the summer of 1949, sixteen years after fleeing Nazi Germany for the safety of the United States, Mann returns to his native country. Accompanied by Erika, he embarks on an emotionally fraught road trip in a black Buick, traveling from American-controlled Frankfurt to Soviet-controlled Weimar through a Germany devastated by war and divided by ideology.

It is a journey across a shattered nation, but also across the wreckage of a family.

Pawlikowski understands that the aftermath of catastrophe is not merely a matter of rebuilding cities or redrawing borders. It is also about confronting the moral compromises of the past, the things people did, the things they failed to do, and the stories they tell themselves to make those failures bearable.

Mann is a towering literary figure, a man whose opposition to Hitler forced him into exile. Yet the film is not content to celebrate the Nobel laureate as a convenient moral monument. His relationship with Erika reveals a more complicated figure, a father whose public stature and intellectual authority cannot protect him from the consequences of private shortcomings.

Hüller, one of contemporary cinema’s most compelling actors, is extraordinary as Erika. Her performance is a study in intelligence, resentment, wit and barely contained pain. She gives the film its emotional counterweight, suggesting a lifetime of accumulated disappointment beneath the surface of an apparently formidable woman. Zischler is equally compelling, creating a Mann whose authority is unmistakable but whose capacity for self-understanding remains uncertain.

The relationship between them is the film’s beating heart. Every exchange seems to carry the weight of conversations that have never taken place, apologies never offered, affection expressed too late or withheld altogether.

Shot by cinematographer Łukasz Żal in exquisitely chiselled monochrome, Fatherland is a visual marvel. The landscape passes through the car windows like a wounded memory, the ruins and the uneasy coexistence of two political systems rendering history tangible. Pawlikowski’s compositions are austere but never sterile; his camera finds beauty in the contours of a devastated landscape without ever pretending that beauty can erase what happened there.

As the journey progresses eastwards, the film becomes increasingly preoccupied with grief and the responsibility of the artist. What does it mean to create art in the aftermath of catastrophe? Can intellectual achievement compensate for emotional failure? And what obligation does a celebrated writer have to the people closest to him, rather than to the abstract ideals he represents?

These questions converge in a beautiful, sad epiphany, delivered with the divine economy that distinguishes Pawlikowski’s finest work.

There are moments when Fatherland feels chilly, even deliberately withholding. But that restraint is part of its achievement. Pawlikowski trusts us to recognize what remains unspoken, to find the sorrow in a pause, the tenderness in an awkward gesture, the devastation in an exchange that appears almost incidental.

The result is a film of haunted, ravaged beauty. Its mournful meditation on national identity, private tragedy and the dangers of trying to remain apolitical in deeply political times speaks directly to our own fractured moment. The cultural riches that survive catastrophe offer no easy redemption, but they can provide small, crucial forms of solace.

Fatherland is an elegant, engrossing masterpiece, an extraordinarily economical film that leaves behind an emotional echo far greater than its running time might suggest.

If VIFF 45 has offered a reminder of why we go to the movies, Pawlikowski’s film supplies one of the most compelling answers: to experience the past not as a distant abstraction, but as a living, breathing presence in the room.

This is a gorgeous poem of a film, and, for VanRamblings, the best film to screen at this year’s festival.

VanRamblings Grade: A+

Part Three: The Movies, the Memories, and the Promise of What’s Next

What, then, has VIFF 45 achieved?

First, it has reminded us that the Vancouver International Film Festival remains one of this city’s most important cultural institutions. For eleven days, it has created a space in which audiences can encounter stories beyond their own experience, discover filmmakers they might otherwise never have encountered, and engage with works that challenge, provoke, entertain and occasionally change the way we see the world.

Second, this year’s festival has offered compelling evidence that 2026 may be one of the strongest years for cinema in a decade, both domestically and internationally.

From the moral complexities of Cristian Mungiu’s Fjord to the exquisite emotional restraint of Coward, from Pawlikowski’s haunted Fatherland to the imaginative daring of films arriving from Japan, Spain and elsewhere, the year’s finest work has demonstrated that ambitious filmmaking is alive and flourishing. Cannes’ awards have been especially revealing, recognizing films that are artistically adventurous while remaining profoundly attentive to the human condition.

And what a year for Canadian cinema, too. Mina Shum’s Whatcha Want is a welcome reminder of the importance of Vancouver filmmakers telling stories that emerge from the communities they know, while the festival’s wider Canadian programme has offered audiences opportunities to encounter the country’s extraordinary range of voices and perspectives. A healthy film culture depends not simply on importing the world’s best work, but on creating the conditions in which our own filmmakers can flourish.

There is, of course, a practical challenge awaiting us after the closing credits roll. How do we sustain the excitement? How do we ensure that these films find audiences beyond the festival’s eleven-day window?

The work of VIFF Centre programmer Tom Charity, and the subsequent theatrical engagements that some festival titles will secure across Metro Vancouver, is essential. A festival should be a beginning, not an ending. The conversation that starts in a crowded cinema ought to continue over dinner, in the pages of publications such as VanRamblings, and in the choices we make when deciding what to watch next.

Most importantly, VIFF reminds us that watching movies together is an act of community. We sit in the darkness beside strangers, laughing at the same unexpected joke, holding our breath through the same moment of suspense, or emerging into the Vancouver night with tears in our eyes and the sudden urge to talk to someone about what we have just experienced. For a few precious hours, another person’s story becomes part of our own.

That is the enduring magic of cinema. It allows us to inhabit lives we have never lived, to recognize ourselves in people whose circumstances are utterly unlike our own, and to discover that tenderness, courage, grief, longing and hope are not the possessions of any one nation or culture. They belong to all of us.

As VIFF 45 draws to a close, VanRamblings find ourselves thinking again about Coward, about those young soldiers who discover a measure of beauty in a world consumed by violence, and about Fatherland, with its wounded landscapes and its insistence that the past must be confronted if we are to make sense of the present. These films are very different, yet both understand that art can preserve something precious when the world seems determined to destroy it.

And perhaps that is the most hopeful thing we can take away from this year’s festival.

In a time of political division, technological upheaval and genuine uncertainty about the future, filmmakers continue to make works of astonishing beauty, intelligence and compassion. Audiences continue to seek them out. Cinemas continue to fill with people willing to give themselves over to a story.

For eleven days, Vancouver has been a city of movie lovers, united by curiosity and the shared pleasure of discovery. The festival ends, but the films remain with us, becoming part of our private histories, our conversations and our understanding of one another.

Here’s to VIFF 46. Here’s to the filmmakers who will surprise us, the performances that will break our hearts, and the stories that will remind us what we share.

And here’s to the simple, extraordinary miracle of sitting in a darkened cinema, surrounded by strangers, and discovering that, for a little while, we are all watching the world together.

#VIFF2026 | Two Outstanding Films That Took Cannes by Storm, Now Screening at VIFF

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Fjord

Fjord — A Moral Avalanche at the End of the World

There are films that win the Palme d’Or, and then there are films like Cristian Mungiu’s Fjord, movies that seem almost preordained to carry the weight of such a prize.

This is filmmaking of extraordinary moral ambition: riveting, nuanced, cathartic and profoundly unsettling, a slow-burning epic that burrows beneath the skin until its questions become our questions, its anxieties our anxieties, its moral dilemmas impossible to shake.

Set in a remote Norwegian fjord, Fjord follows a devout Romanian Norwegian couple, Mihai and Lisbet Gheorghiu, who relocate to a small community where their children form a friendship with the children of their neighbours. When adolescent Elia arrives at school bearing bruises, however, the community begins asking increasingly uncomfortable questions about the Gheorghius’ parenting, their religious beliefs and the boundaries between cultural difference and unacceptable behaviour.

And Mungiu — whose 4 Months, 3 Weeks and 2 Days remains one of the great Palme d’Or winners of the modern era — is having none of the easy answers.

Instead, Fjord becomes a gripping moral and social quandary, a film that refuses to tell us where sympathy should end and judgment begin. What constitutes good parenting? When does intervention become persecution? How much cultural difference can a liberal society accommodate before its commitment to tolerance begins colliding with its responsibility to protect children? And who gets to decide?

These are thorny questions, and Mungiu grapples with them with an almost unnerving patience.

Shot in icy widescreen compositions against the stark beauty — and terrifying avalanches — of Norwegian precipices, Fjord is a brilliant epic of landscape and conscience. The mountains are magnificent, but they are hardly comforting. They loom over the characters like indifferent gods while Mungiu meticulously piles one ethical complication upon another. The film sustains nail-biting tension across its 146-minute running time through meticulous pacing, confirming the Palme d’Or laureate as one of contemporary cinema’s sharpest moral observers.

The central performances by an outstanding Sebastian Stan and an absolutely riveting and revelatory Renate Reinsve  are extraordinary precisely because nobody is reduced to a position in an argument.

Mungiu allows everyone their humanity, their contradictions, their fears and their blind spots. Variety called the result “riveting,” praising the ensemble’s careworn nuance, while The Telegraph described the film as a “slow-burn provocation” that confronts the contradictions of multiculturalism and public-sector institutions with unflinching seriousness.

What makes Fjord so powerful is that it never settles for the obvious culture-war narrative. It becomes a richly compelling and provocative culture war drama precisely because it understands that real culture wars are rarely about heroes and villains. They are about frightened people, competing obligations, incompatible understandings of responsibility and the terrifying possibility that everybody involved may believe they are doing the right thing.

There is something almost spiritual about the film, too.

Fjord is a triumphant work that tugs at the spiritual and soulful in all of us — regardless of nation, creed, faith, or the rejection of all three. Its tragic examination of the boundaries of acceptable behaviour, and of caregiving itself, unfolds as a meditation on what happens when private belief collides with public responsibility.

This is cinema that refuses complacency.

It watches. It waits. It tightens the screws.

And then, like an avalanche descending from those magnificent Norwegian heights, it leaves you wondering whether society can ever distinguish between protecting the vulnerable and protecting itself.

Fjord is not merely a Palme d’Or winner.

It is a moral earthquake.

Grade: A | A harrowing, provocative and controversial — yet always humane and moving — epic for the modern age, this Palme d’Or winner delivers in spades.

Fjord has one more screening at VIFF, on Wednesday, October 7th at 9 PM, at the Vancouver Playhouse.

Club Kid

Club Kid — Jordan Firstman Finds the Heart Beneath the Glitter

Jordan Firstman has spent years cultivating an online persona built on irony, provocation, bitchiness and the gleeful absurdity of internet culture. Then he went to Cannes with Club Kid and did something genuinely unexpected: he grew a heart.

Written, directed by and starring Firstman, Club Kid is a crowdpleasing queer family drama that somehow transforms the debris of New York’s hedonistic gay nightlife — drugs, parties, bad decisions, emotional wreckage and spectacularly questionable behaviour — into something earnest, heartwarming and surprisingly moving.

Firstman plays Peter, a washed-up New York party promoter whose carefully constructed life of perpetual nightlife is detonated by the arrival of a 10-year-old son he never knew he had. What follows is Peter’s fumbling, frequently hilarious and occasionally heartbreaking journey toward fatherhood.

And somehow, it works.

Indeed, it works gloriously.

Club Kid is an acidic, spikily funny portrait of the city’s hedonistic gay scene, but beneath all the bitchy humour is a celebration of empathy, community and the unconditional love between a father and his son. Firstman finally shirks the ironic pose he has taken online for years to emerge as a sincere storyteller with heart as much as humour. IndieWire specifically praised this transformation, describing a filmmaker who moves beyond his online persona to reveal himself as a storyteller of genuine sincerity.

The movie promises — and absolutely delivers — scenes of copious drug taking, gross-out comedy, chaotic nightlife and the sort of behaviour that makes responsible parenting manuals spontaneously combust. Yet Firstman understands the most important trick in the cinematic playbook: make us laugh first, then make us care.

By the third act, the emotional payoff is both well-earned and devastating.

Firstman’s performance is particularly bracing. There are moments when the armour falls away and Peter becomes vulnerable, frightened and utterly human. That vulnerability gives Club Kid its emotional force. AwardsWatch praised Firstman’s ability to strip away his persona for moments of “bracing vulnerability,” while The Film Stage singled out the film’s third-act payoff as devastating.

The supporting cast adds further pleasure. Cara Delevingne, used sparingly and effectively, plays Peter’s cutting business partner, while The Night Manager’s Diego Calva is wonderfully sympathetic as an extremely obliging social worker. Together with Firstman’s wonderfully chaotic ensemble, they make Club Kid nothing if not easy to like.

And then there is the film’s unabashed sweetness.

That may be Club Kid’s greatest surprise.

This is a bracing, vulnerable, redemptive movie alive with warmth. It is a celebration of unconventional lifestyles without pretending that unconventional lives are uncomplicated. It offers a vivacious look at the realities of parenting — especially parenting when you have absolutely no idea what you are doing — while insisting that love can arrive late, messily and from the least expected direction.

There is something wonderfully old-fashioned about its emotional generosity.

Club Kid wants us to believe people can change.

More importantly, it wants us to believe that they can love one another while they are changing.

And by the time Peter finally begins to understand what being a father might mean, Firstman has pulled off something considerably more difficult than a joke.

He has made us feel.

VanRamblings’ Grade: A– | A moving, tender drama set in New York’s trans & queer community, unprecedented in scope. A film that surprises while warming the heart.

Club Kid has one more screening at VIFF, this upcoming Monday, October 5th, 9:15 PM, at The Park Theatre on Cambie Street.

#BCPoli | An Autocrat No More | 2024 Election | Eby Emerges As a Humbled and Chastened Politician

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David Eby: chastened, humbled, reflective, willing to listen, refocusing his government’s priorities.

Barely scraping by with the slimmest of majority governments, Premier David Eby has emerged from the bruising 2024 British Columbia election campaign a humbled and chastened man, a provincial leader prepared to change his government’s legislative priorities, to listen more, to be more collaborative in his approach, and to refocus on the priorities identified by the British Columbia electorate.

In the two years since assuming power in the Premier’s office, David Eby proved to be the provincial equivalent of the energizer bunny, going off in 10,000 different directions at once, unfocused, taking on far too much with little prospect of changing anything at all, Eby’s imperious, autocratic, top down approach alienating broad swaths of British Columbia’s citizenry, at odds with municipal administrations across the province, all the while racking up debt and ill will, and a cry to please just slow the merry-go-round down a bit, the change David Eby sought to achieve dizzying and disquietening in the breadth and depth of its unachievable scope.


British Columbia’s 31st (BC NDP) Premier, Glen Clark, pictured above in 2024, at 66 years of age.

During the course of the election, broadcaster Mo Amir conducted an extensive, thoughtful and engaging interview on his This is Vancolour podcast with British Columbia’s 31st Premier, the original B.C. political energizer bunny, the British Columbia New Democrat’s Glen Clark, now a senior citizen at the ripe old age of 66 (soon to be 67, given that his birthday is coming up on November 22nd).

This is the advice that the older, and now wiser, Mr. Clark has for David Eby …

“David tried to accomplish too much in his two-year term as Premier, with little in the way of definable outcomes that people could see and feel. In the coming term, my advice to the Premier would be to refocus his government on four or five achievable goals: fulfill the government’s promise of $10-a-day child care; when it comes to health care, make a firm commitment that by 2026 the Interior region of the province will no longer experience emergency room closures, all while committing to reducing wait times and ensuring every B.C. citizen has a family physician.

Focus his government’s priority on achieving public safety, while ensuring that the indigent population are well-housed; and build social housing, high quality co-operative housing constructed on Crown land, a commitment to opening the doors on 10,000 units of housing for families, by 2027, in every region across our province.”

In the 2017 British Columbia election campaign, the BC NDP committed to building 100,000 units of affordable housing by 2025. In point of fact, the government has achieved only 20% of that goal. British Columbia’s NDP government has got to stop making promises that they have no real and palpable intention of fulfilling.

Throughout the course of the recent 28-day election campaign, David Eby championed his government’s near fulfilled commitment to achieving $10-a-day child care for families who live in every region across B.C., when in point of fact his government is a very long way from achieving that goal. Most irritating to VanRamblings was the Premier’s championing of how his government had cut child care fees in half during their term of government (note: not $10-a-day child care), when David Eby’s government had no role to play in halving child care fees: doing so was entirely a federally funded initiative of the Trudeau government.

The key to a successful, full-term David Eby-led British Columbia New Democratic Party government is, as we write above, collaboration, consultation, respect for the municipal partners in the change movement to build the much needed housing the public has demanded, an ability to listen and to act, and be seen to act, on the input that will be provided by the stakeholders in the movement for change (read: citizens), who desire change as much as David Eby wants change, but change reflected in the wants and needs of the populace, rather than the autocratic imposition of a “I know best what you need” British Columbia provincial government.

Now for the good news — good news, that is, if you’re a fan of Premier David Eby (as is the case with VanRamblings) and the B.C. New Democratic Party government he leads with vision, and an unwavering commitment to the public good.

If Premier Eby can hold onto government for the next three years — for which the prospects are good, given that negotiations between Green Party leader Sonia Furstenau and David Eby, to work collaboratively, are moving ahead well for both concerned parties — a number of salutary events will unfold for the BC NDP …

  • The Broadway Millennium Line Skytrain extension to Arbutus Street will open in late 2027, along with the 13-storey social housing seniors facility at 7th and Arbutus. Governments that get things done always wears well with the public;

  • The new Pattullo Bridge, connecting New Westminster to Surrey, will also open, as yet another feather in the cap of the B.C. New Democratic Party government;
  • And, best of all, a far-right, chaos driven, extremely unpopular Pierre Poilevre government will have been in power for two years come late 2027, which will have a number of salutary impacts: the re-birth of a renewed B.C. Liberal Party, a very unpopular B.C. Conservative opposition following on the coattails of a hated Pierre Poilievre, a Trumpian nightmare of a Prime Minister — you wonder why Nova Scotia Conservative Premier Tim Houston is going to the polls early, as will soon be the case with Ontario Conservative Premier, Doug Ford … cuz they know, even if you don’t, that Pierre Poilievre will be held in such disrepute that their respective chances for re-election would be fatally wounded with Poilievre in power. And what does this have to do with the cost of tea in China, and the prospects of David Eby being re-elected to a second full term, with a much increased majority, in 2027-2028? An upstart B.C. Liberal Party garnering 23% of the vote, a B.C. Conservative Party also registering at 23% in the polls, and our beloved David Eby-led British Columbia New Democratic Party government coming up the middle in 2027-2028, in a B.C. provincial election that will give them a comfortable majority in the British Columbia legislature.

And, yes, we’re aware that we’re driving you nuts with our criticism of the BC NDP, while touting their majority government re-election, three or four years hence.

All part of the invaluable service we provide to you, most days, at VanRamblings!

#BCPoli | Writ Drops on Saturday, September 21st | A 28-Day British Columbia Election Campaign Follows

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As the 2024 British Columbia provincial election draws near, the political landscape in the province is charged with intense debate and a host of key issues that will shape the campaign.

Set to officially begin when the Writ drops on September 21st, the 28-day campaign will see Premier David Eby’s B.C. New Democratic Party defend their hold on government against an ascending opposition. The chief challenger in 2024:  the resurgent B.C. Conservatives, led by John Rustad, who, despite their limited war chest, aim to capitalize on voter dissatisfaction with the current government.

Key Issues in the 2024 British Columbia Election Campaign

  • Affordability and Housing: Housing remains the dominant issue in British Columbia politics, especially in urban centres like Vancouver and Victoria. The B.C. NDP under Premier David Eby has placed significant focus on addressing the housing crisis, with legislation proclaimed to increase the supply of affordable homes, streamline permitting processes, and combat speculation in the real estate market. David Eby has framed his party’s housing policy as one that balances affordability with responsible development, but the B.C. Conservatives have criticized the NDP’s efforts, accusing them of exacerbating the crisis by driving up costs with unnecessary regulations.

  • Rent Control and Tenant Rights: The B.C. NDP has enacted strict rent controls, limiting annual rent increases to match inflation rates. John Rustad’s B.C. Conservatives have said if elected to government they would remove the cap on rent increases, arguing that rent controls hurt landlords and reduce the incentive to build new rental housing. This proposal is likely to be a key wedge issue, dividing renters, who are primarily concentrated in urban areas, from property owners and real estate investors.

  • SOGI 123 and LGBTQ+ Rights: Socially conservative elements within the B.C. Conservative Party, including leader John Rustad, have rallied against the SOGI 123 curriculum, which promotes inclusivity and understanding of sexual orientation and gender identity in BC schools. While the B.C. NDP and — earlier this year —  B.C. United supported SOGI 123 as a tool for fostering inclusivity, the B.C. Conservatives’ opposition appeals to a more socially conservative base, particularly in rural areas. Note should be made, B.C. Conservative leader Rustad has said that he would remove the programme from B.C.’s public school system, while also removing and banning books from the schools he believes “indoctrinate children”. The issue of the rights of LGBTQ children enrolled in B.C. schools — the programme brought in by the B.C. Liberal Christy Clark administration in 2015, as drafted by current ABC Vancouver City Councillor Lisa Dominato when she was in the employ of British Columbia’s Ministry of Education — has the potential to become a highly polarizing wedge issue, mobilizing both progressives and conservatives in different parts of the province.

  • Climate Change and Environmental Policy: British Columbia’s natural beauty and environmental stewardship are central to its identity, but climate policy has become a contentious issue. The B.C. NDP has taken a middle-of-the-road approach, supporting ambitious climate targets while also backing natural resource industries like LNG. The B.C. Conservatives, however, have been skeptical of aggressive climate policies, focusing instead on economic growth and job creation in resource sectors. This issue may pit environmentally conscious urban voters against rural communities reliant on resource extraction.

  • Public Transportation: Funding for public transportation, particularly in Metro Vancouver, will be a critical issue. The B.C. NDP supports expanding transit infrastructure, including SkyTrain expansions and increased bus service, to reduce congestion and emissions. However, the B.C. Conservatives have suggested prioritizing road infrastructure and reducing reliance on taxpayer-funded transit. This issue will likely divide urban voters who depend on public transportation from suburban and rural voters who prioritize road improvements.

  • Healthcare and Mental Health: The province’s healthcare system, already strained by the COVID-19 pandemic, continues to be a significant issue. With long wait times for surgeries and difficulty accessing family doctors, healthcare is top of mind for many voters. The B.C. NDP has pledged more funding for healthcare and mental health services, while the B.C. Conservatives have focused on increasing private sector involvement to reduce wait times and improve access.

  • Taxes and Fiscal Responsibility: The B.C. NDP has faced criticism for its spending policies, with the B.C. Conservatives and other opponents accusing them of driving up provincial debt and over-taxing residents. The Conservatives have proposed cutting taxes and reducing government spending, appealing to fiscally conservative voters, particularly in the interior and northern regions of the province.

  • Crime and Public Safety: Rising crime rates, particularly in urban centres like Vancouver, Victoria, Nanaimo and Kelowna have made public safety a hot-button issue. The B.C. NDP has promised more funding for police and social services, whle working with the federal government to bring in tougher legislation that would keep repeat offenders and those accused of violent crimes in custody — while the B.C. Conservatives have taken a hardline approach, advocating for tougher sentencing and more resources for law enforcement, which is likely to realized only if Pierre Poilievre’s federal Conservative Party are elected to government next year. This issue will certainly be central to debates in urban and suburban ridings, where concerns about crime are highest.

  • Economic Development and Jobs: With economic uncertainty persisting post-pandemic, job creation and economic growth will be key topics. The B.C. NDP has highlighted its investments in green technology and infrastructure — which has proved successful while raising wages across the province. John Rustad’s B.C. Conservatives have emphasized the importance of supporting traditional industries like forestry, mining, and oil and gas, which are crucial to many rural communities. A B.C. Conservative urban economic development plan has yet to be announced.

  • Education and School Funding: Public education will be a key issue, especially as concerns about classroom sizes, teacher shortages, and underfunding persist. The B.C. NDP has committed to increasing education spending, while the B.C. Conservatives have called for reforms to make the system more efficient, including increased support for alternative schooling options, which may resonate with their socially conservative base.

Key Ridings to Watch

Several ridings will be crucial in determining the outcome of the election. Urban ridings in Metro Vancouver, such as Vancouver-Yaletown and Surrey-Newton, will be battlegrounds between the B.C. NDP and the B.C. Conservatives, with housing and public safety as major issues. In the Fraser Valley and Interior, ridings like Chilliwack-Kent and Kamloops-North Thompson will see heated contests between the B.C. NDP and the B.C. Conservatives, where affordability, resource development, and opposition to SOGI 123 may come to the forefront.

Additionally, suburban ridings in regions like Langley, Coquitlam, and Port Moody will be key, with issues such as transportation and crime dominating local discourse. The outcome in these swing areas could determine whether the B.C. NDP can maintain their majority or if the opposition makes significant inroads.

Voter Demographics and Turnout

Polling indicates that British Columbians aged 55 and older tend to support the B.C. NDP. This age group also tends to vote in greater numbers than younger voters, making their support crucial to the NDP’s success. If the B.C. NDP can effectively mobilize this demographic while appealing to younger voters concerned with housing affordability and climate change, they may secure another term in government. However, the B.C. Conservatives’ appeal to disaffected, older, rural voters who feel left behind by the NDP’s progressive agenda could create a potent challenge in key regions.

Wedge Issues and Potential “Bozo Eruptions”

The B.C. Conservatives, under John Rustad, face a significant risk of “bozo eruptions” during the campaign. With a number of candidates espousing socially conservative and conspiracy-laden views, the party could find itself embroiled in controversy throughout the campaign period, providing the B.C. NDP with ample ammunition to exploit. Rustad’s removal of the rent increase cap and his party’s opposition to the SOGI 123 programme are likely to emerge as key wedge issues, polarizing voters and drawing sharp contrasts between the parties. These controversies may help the B.C. NDP rally progressive voters and paint the Conservatives as out of touch with mainstream British Columbians.

The 2024 B.C. provincial election will be shaped by a range of pressing issues, from housing affordability and climate change to education and public safety.

With the B.C. NDP well-funded and and maintaining a slim lead in the polls, and John Rustad’s B.C. Conservatives seeking to channel discontent among socially conservative and rural voters, the stage is set for a fiercely contested election.

Key ridings in the Lower Mainland, the Interior, and northern B.C. will be critical, as will turnout among older voters.

As the campaign progresses, wedge issues like rent control, SOGI 123, and climate policy will likely define the battleground, with both major parties vying to secure their share of the vote.