Celebrated Norwegian writer-director Joachim Trier’s latest, The Worst Person in the World, is an absolute knock-out, a dazzling, startling observant, gloriously poignant, always provocative, beguiling and engaging romantic drama, a film for the ages that elicits boundless empathy for its three main protagonists, a film that is both laugh-out loud funny and heartbreaking all at the same time, and for VanRamblings flat out the best film we’ve seen this year!
Remaining VIFF 2021 screenings | Book your tickets now! | In-person only Saturday, October 9th, 2021 at 9pm, Rio Theatre
Monday, October 11th, 2021 at 6:15pm, Vancouver Playhouse
The question of the hour is: what do I watch on VIFF Connect in the comfort of my home, what are the recommendable films that are screening and available at VIFF 2021? The answer to the question is: there are no bad films at VIFF, no film unworthy of your time — choosing which films to watch is a purely subjective exercise. No one film is everyone’s cup of tea, that’s just the way it is.
The above said, VanRamblings is prepared to point you in the direction of two friends & two local media outlets providing reliable VIFF 2021 reviews …
Stir is a Vancouver-based online, digital magazine that puts arts and culture at centre stage, not just in our city, but across the region. A platform for independent arts journalism, as was the case the past couple of years, the good folks at Stir are providing compelling reviews of VIFF 2021’s best films(click on the preceding link).
The editor of The Georgia Straight, Charlie Smith — without a doubt, Charlie is the hardest working, most prolific and most respected independent journalist in town — in addition to his myriad other duties, in 2021 has taken on the task of watching a multitude of VIFF 2021 films (along with his compatriots, Craig Takeuchi, Steve Newton, Carlito Pablo, and Martin Dunphy), and has set about to publish what may be considered as the ‘definitive guide’ to what’s worth watching through VIFF Connect, at our beloved film festival by the sea, the glorious, edifying, window-on-the-world Vancouver International Film Festival.
Here’s where you’ll find The Straight’s VIFF 2021 reviews: just click here.
In addition to Stir &The Georgia Straight, three VanRamblings friends: Joseph Jones, Ian Merkel and David House are writing reviews of VIFF 2021 films …
Click here for Joseph Jones’ VIFF 2021 reviews on Twitter (more added daily).
Click here for Ian Merkel and David House’s VIFF 2021 reviews.
And migawd, if you’re looking for first-rate cinema to watch on VIFF Connect, you simply can’t go wrong when choosing any one of several VIFF ‘shorts’ programmes on this year’s schedule. The International Shorts programmes — lovingly curated by Sandy Gow, an eminence gris at the Vancouver International Film Festival — are always a glorious, hopeful and heartrending delight & definitely not-to-be-missed.
After going online in 2020, the Vancouver International Film Festival (VIFF) returns on Friday, October 1st thru Monday, October 11th — to celebrate its 40th annual edition with a vibrant hybrid in-person and streaming lineup, with 85% of the VIFF 2021 film slate available online not just for loyal VIFF fans locally, but for patrons throughout British Columbia and across Canada, through the VIFF Connect online streaming web portal.
Although the Vancouver International Film Festival has traditionally commenced in late September with a two-week run, the somewhat truncated 2021 hybrid edition running from Friday, October 1st thru Monday, October 11th, will still feature 113 groundbreaking and celebrated original films, with 80 narrative and 33 documentary features arriving from 50 countries across the globe, 24 of which are world premières, 26 North American and 28 Canadian feature film premières, 6 of which are made by BC filmmakers. Eighty curated short films are also featured in the VIFF 2021 lineup, 36 of which are Canadian.
Strict British Columbia COVID-19 public health and safety protocols will be in place for in-person screenings, including mandatory mask wearing in screening rooms and common areas, and BC Vaccine Card proof that cinephile patrons have been vaccinated, before patrons will be granted access to the eight VIFF cinema venues.
VIFF executive director Kyle Fostner says he believes there’s a growing group of patrons who are ready to return to the theatre.
“Culturally, as an organization and as a community VIFF needs to have some kind of statement of intent around returning to cultural activity and to cinema,” Fostner says, pointing out that two local independent theatres, the Rio and the Cinematheque, have already been open for some time and attracting audiences.
Meanwhile, VIFF Expanded has partnered with two B.C. venues to present films in-cinema to British Columbians outside of the Lower Mainland, with 8 screenings scheduled at the Tillicum Twin Theatres in Terrace, and 12 VIFF films set to screen at the newly renovated Patricia Theatre in Powell River.
(Note: each film title — and more — throughout this column links to the VIFF website page)
Japanese-English director Will Sharpe’s The Electrical Life of Louis Wain, a whimsical Victorian biopic starring Benedict Cumberbatch and Claire Foy, was selected by VIFF Associate programmer Curtis Woloschuk as VIFF’s opening night film — on Friday, October 1st, with Céline Sciamma’s exquisite Petite Maman — which débuted at the Berlinale earlier this year acclaim — and a favourite of Mr. Woloschuk’s, selected as VIFF’s closing night film, on Monday, October 11th.
The array of titles given special presentations assembles a collection of works by leading filmmakers spanning the globe, from …
One Second (China) by Fifth Generation filmmaker Zhang Yimou;
https://youtu.be/Ej7FSmzijNE
Memoria (Thailand/Colombia/U.K.) by Thai indie director Apichatpong Weerasethakul;
Drive My Car (Japan), Ryusuke Hamaguchi’s adaptation of a short story by author Haruki Murakami, available only as an in-person screening. A favourite of VIFF International Films programmer, Alan Franey;
Belfast (U.K.), an autobiographical film by British filmmaker Kenneth Branagh, recent winner of the Audience Award at the Toronto International Film Festival;
The Power of the Dog (Australia/New Zealand), the “other” Benedict Cumberbatch film at VIFF this year, and winner of the Silver Lion for Jane Campion as Best Director, at Venice 2021;
Bergman Island (France/Sweden) by French writer-director Mia Hansen-Løve;
“Seventeen VIFF films will be available as in-person screenings only,” VIFF’s International Films programmer Alan Franey told VanRamblings.
“And that includes Drive My Car, Ryûsuke Hamaguchi’s sombre drama about love and loss, that was for me an engrossing and exalting film experience, and a film not to be missed. Arising from concerns about piracy, I was unable to move various studios to release their films to our secure streaming VIFF Connect platform.”
As part of VIFF’s 40th anniversary celebrations, the festival will present a free online tribute talk. VIFF Leading Lights will spotlight Japanese auteur Kore-eda Hirokazu (Like Father, Like Son) in conversation with South Korean filmmaker Bora Kim (House of Hummingbird), whom Kore-eda chose as an emerging director to discuss filmmaking with.
Other speaking engagements at VIFF Talks will feature film professionals sharing their expertise, including documentary filmmakers Julie Cohen (My Name is Pauli Murray) and Jonas Poher Rasmussen (Flee).
On the industry side, online events include master classes with Mare of Easttown director Craig Zobel and The Suicide Squad editor Fred Raskin, as well as a talk by The Green Knight’s production designer Jade Healy.
Canadian productions receiving special presentations include the Indigenous sci-fi drama Night Raiders (Canada/New Zealand) by Cree-Métis director Danis Goulet, starring Vancouver’s Elle-Máijá Tailfeathers, and All My Puny Sorrows (Canada), director Michael McGowan’s adaptation of Miriam Toews’ 2014 novel.
More VIFF 2021 highlights include VIFF AMP, the annual forum for music in film, which runs from October 8 to 10; VIFF Totally Indie Day on October 2nd, devoted to independent filmmakers and cinema; and the VIFF Immersed exhibition, October 1 to 11, to showcase virtual reality and augmented reality storytelling.
As has long been the case, VIFF will offer a wide array of different ticket packages and passes: patrons can purchase an all-festival, all-access in-person pass for $725, while the VIFF Connect pass will be available for $110 for a household, $80 for an individual, with a $60 student rate. The four-ticket in-person pass price is set at $48, seniors $44, students, $32. Regular in-person admission will cost $15 – $17.
In 2021, patrons may enjoy the big screen cinematic experience, or watch from the comfort of their home, or mix and match to create a personal festival journey.
“VIFF’s lineup offers a plurality of perspectives, with powerful narratives from Indigenous filmmakers, poignant stories from female perspectives, and bold work that confronts critical issues such as colonialism, racism, and the climate crisis,” says Woloschuk. “The films VIFF programmers have selected testify to the power of creativity, reminding us: even when it’s darkest, we can dream.”
“I think the minute I see a VIFF screening of 100 appreciative audience members rapt in attention watching a VIFF film in-cinema it will be a victory,” enthuses Fostner, who adds that despite the ravages of the pandemic, VIFF remains strong.
The Vancouver International Film Festival is presented on the traditional and unceded territories of the Coast Salish peoples, and the xʷməθkʷəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and səl̓ílwətaʔɬ (Tsleil‑Waututh) Nations.
In 2021, wherever a film festival may take place, appropriate COVID protocols will be in place, including mandatory masks in the screening rooms and common areas, and proof that cinephile patrons have been vaccinated.
The pandemic – particularly given the ravages of the COVID-19 fourth wave – will probably mean, and has meant at the Telluride and Venice film festivals, prejudiced attendance numbers at fall film festivals. As was the case in 2020 – and once again will be so in 2021 – films on offer will be made available for home viewing, with a small number of films available exclusively for in-person screenings. In other words, in order for film festivals to “work” in 2021, festival directors have adopted a “hybrid model” to satisfy the viewing demands of their loyal patrons.
At Telluride and Venice, major film studios made their star-driven, Oscar contending film slates available to these two prestigious film festivals, as will be the case in Toronto – which got underway yesterday – and later this month in Gotham City, at the 59th annual New York Film Festival, which will share half their slate with VIFF.
At Telluride and Venice, Hollywood stars turned out in all their finery, engaging in post screening discussions with audiences, sitting in rapt & appreciative attention.
Above is a clip of Japanese-English director Will Sharpe’s The Electrical Life of Louis Wain, a whimsical Victorian biopic starring Benedict Cumberbatch and Claire Foy — which, it was announced at the annual Vancouver International Film Festival media conference has been selected as VIFF40’s opening night film, on October 1st.
“Movies are a distraction from reality,” says a character in Paolo Sorrentino’s Hand of God — which débuted at Telluride — a sprawling, funny-sad, autobiographical coming-of-age story. That’s a good thing. Reality is drab and painful — “lousy,” according to the film’s English subtitles — and film provides a much needed respite.
The break-out Oscar contenders that débuted at Telluride include …
Cyrano, a lovely new telling of the classic story of Cyrano de Bergerac, which had its world première at Telluride, and took that film festival by storm — with guaranteed Oscar nods all around;
https://youtu.be/MUnsoxe7K4g
The North American première of Spencer, the mesmerizing new drama starring Kristen Stewart (a guaranteed Best Actress Oscar nominee) as Princess Diana; and
The crowd-pleasing King Richard, a drama charting the rise of tennis superstars Venus and Serena Williams, expected to launch Will Smith into the Oscar race for his portrayal of the girls’ demanding dad and coach, Richard Williams — a loving, egocentric father who, it turns out, did know what was best for his daughters.
Céline Sciamma’s exquisite Petite Maman — which débuted at the Berlinale, and has been set as VIFF40’s closing night film (cuz it’s VIFF programmer, Curtis Woloschuk’s, favourite film at VIFF this year, he told VanRamblings earlier in the week — don’t tell anybody, though, cuz it’s a secret) — a delicate film full of surprises. Sciamma, whose Portrait of a Lady on Fire was a VIFF standout in 2019 (at the pre-pandemic VIFF festival), examines female intimacy from a different angle.
Nelly and Marion (played by young twins named Joséphine and Gabrielle Sanz) are 8-year-old girls living in similar houses in the woods. They strike up a friendship tinged with elements of fairy-tale supernaturalism, magical realism and time travel. The twists packed into the film’s compact 72 minutes arrive gently and matter-of-factly. The intense emotions they leave behind — this is one of the quietest tear-jerkers you’ll ever see — are at once familiar and wholly new.
Soon, the sane and responsible among us will be fully vaccinated and in possession of our province-issued vaccine card — making attendance at movie theatres, restaurants, bars and pubs safer and more enjoyable for the vast majority of us.
As much as COVID’s fourth wave will keep us in its troubling grip, for the most part it is the anti-social unvaccinated amongst us who will bear the malignant brunt of the coronavirus — for the rest of us, a return to a near normal state of being holds promise for our immediate future, and the prospect of an autumn movie-going season sitting amongst our brothers and sisters inside a darkened movie theatre.
Click here for Joseph Jones’ VIFF 2021 reviews on Twitter (more added daily).
Click here for Ian Merkel and David House’s VIFF 2021 reviews.
