The Nigerian Economy and the Creative Economy Are in the Doldrums of Conceit and Deceit
Thursday, July 18, 2024
The Nigerian Economy and the Creative Economy Are in the Doldrums of Conceit and Deceit
Saturday, June 1, 2024
2024 Cannes Film Festival: Winner of the Palme d'Or the Other Winners
2024 Cannes Film Festival: Winner of the Palme d'Or the Other Winners
77th EDITION
May 14-25, 2024
Palme d’Or
ANORA
Directed by : Sean BAKER
Year of production: 2024
Country: United States
Duration: 138
"Anora, a young sex worker from
Brooklyn, gets her chance at a Cinderella story when she meets and impulsively marries the son of an oligarch. Once the news reaches Russia, her fairytale is threatened as the parents set out for New York to get the marriage annulled."
https://www.festival-cannes.com/f/anora/#
Grand Prix
ALL WE IMAGINE AS LIGHT
Payal Kapadia
Jury Prize
EMILIA PÉREZ
Jacques Audiard
Best Director
MIGUEL GOMES
for Grand Tour
Special Award
MOHAMMAD RASOULOF
for The Seed of the Sacred Fig
Exiled Iranian director Mohammad Rasoulof was given a Special Prize for The Seed of the Sacred Fig.
Best Performance by an Actor
JESSE PLEMONS
in Kinds of Kindness directed by Yórgos Lánthimos
Best Performance by an Actress
ADRIANA PAZ
in Emilia Pérez directed by Jacques Audiard
ZOE SALDAÑA
in Emilia Pérez directed by Jacques Audiard
KARLA SOFÍA GASCÓN
in Emilia Pérez directed by Jacques Audiard
SELENA GOMEZ
in Emilia Pérez directed by Jacques Audiard
Best Screenplay
THE SUBSTANCE
Coralie Fargeat
Short Films
Palme d’or
THE MAN WHO COULD NOT REMAIN SILENT
Nebojša Slijepčević
Special Mention
BAD FOR A MOMENT
Daniel Soares
Un Certain Regard
Un Certain Regard Prize
BLACK DOG
by Guan Hu
Jury Prize
L’HISTOIRE DE SOULEYMANE
by Boris Lojkine
Best Director Prize ex-aequo
ROBERTO MINERVINI
for The Damned
RUNGANO NYONI
for On Becoming a Guinea Fowl
Best Performance by an Actress
ANASUYA SENGUPTA
in The Shameless
Best Performance by an Actor
ABOU SANGARÉ
in L’Histoire de Souleymane
Youth Award
HOLY COW
by Louise Courvoisier
1st film
Special Mention
NORAH
by Tawfik Alzaidi
1st film
Caméra d’or
ARMAND
Halfdan Ullmann Tøndel
Un Certain Regard
Special Mention
MONGREL
Wei Liang Chiang & You Qiao Yin
La Cinef
First Prize
SUNFLOWERS WERE THE FIRST ONES TO KNOW…
Chidananda S Naik
Joint Second Prize
OUT THE WINDOW THROUGH THE WALL
Asya Segalovich
THE CHAOS SHE LEFT BEHIND
Nikos Kolioukos
Third Prize
BUNNYHOOD
Mansi Maheshwari
Meet the 77th Festival winners - Festival de Cannes
https://www.festival-cannes.com/en/2024/a-la-rencontre-des-laureats-du-77e-festival/
See the films of the Official Selection 2024 - Festival de Cannes
https://www.festival-cannes.com/en/press/press-releases/the-films-of-the-official-selection-2024/
Sunday, November 12, 2023
ZENITH 2024 Inaugural International Film Festival
ZENITH 2024
Zenith International Film Festival: Coming Soon!
Zenith International Film Festival is an annual independent film festival for the promotion of the best in motion picture, from script to screen; where the most ambitious filmmakers will meet the most ambitious film distributors from all over the world.
Participation is strictly by application and competition is only by official selection.
Only 20 films will be selected by the international jury.
The inaugural annual Zenith International Film Festival will be launched in Lagos before the end of 2024.
We may not be the first and we may not be the biggest, but our mission is to be among the best international film festivals in the world.
More details will be announced later.
#zenith
#filmfestivals
#officialselection
#nominees
#nominations
#awards
#prizes
#filmmaking
#movies
#actors
#nigeria
#filmmakers
#jury
#filmdistribution
#acquisition
#ZENITH2024
Tuesday, August 29, 2023
The Academy Awards, Nollywood and the Submission of Nigeria's Entry for the Best International Feature Film
The Academy of Motion Pictures, Arts and Sciences (AMPAS) is not responsible for the selections of the members of the Nigerian Official Selection Committee (NOSC) for the International Feature Film (IFF) category of the annual Academy Awards (Oscars).
The brouhaha over the lack of honesty and transparency in the rejection of any of the two acclaimed Nigerian films as the country’s official submission for the IFF Award last year caused the resignation of Mildred Okwo and Shaibu Husseini from the selection committee and I don't know if they have returned. But there should be a defined criteria for the membership of the Nigerian Official Selection Committee (NOSC) based on international professional achievements and accomplishments in filmmaking and being on the jury of highly rated international film festivals and awards. So, some members of the NOSC are not qualified to be members of the committee. And I mean every word in my statement.
I was dragged into the mess of the NOSC last year that caused the local and international embarrassment of Nollywood, because after my investigation I discovered that Nigeria should have submitted an entry for the International Feature Film (IFF) category of the last Oscars. But personal antagonisms and not professional criticisms caused the rejection of the two films from which one should have been submitted.
The two major contenders for the submission as Nigeria's entry were "Elesin Oba, The King's Horseman" , Yoruba-language historical drama film directed by Biyi Bandele based on Nobel Laureate, Prof. Wole Soyinka's "Death and the King's Horseman", a stage play he wrote while in Cambridge and "Aníkúlápó", a Yoruba epic fantasy film by Kunle Afolayan. Both of them were good enough; therefore one of them should have been submitted for the International Feature Film (IFF) category of the annual Academy Awards (Oscars). But the antagonism between those who wanted "Aníkúlápó" and those who wanted "Elesin Oba, The King's Horseman" resulted in the rejection of the films.
Selfish opportunism has done more harm than good to professionalism in Nollywood and the Nigerian film industry.
To me, any Nigerian film that fails to be accepted for the Official Selections of any of the following annual international film festivals: Sundance Film Festival; Berlin International Film Festival: Cannes Film Festival, Venice International Film Festival and Toronto International Film Festival (TIFF) should not be in the consideration for the submission by the NOSC.
The Publisher/Editor,
NOLLYWOOD MIRROR® Series,
Nigeria Daily
Nigerians Report Online on Blogger and Facebook
New Nigeria on Pinterest
Vuulr Program Partner,
Cinewav affiliate partner
#Oscars
#Academyawards
#BestInternationalFeatureFilm
#OfficialSelections
#nominations
#nominees
#films
#committee
#Nollywood
Friday, April 14, 2023
2023 Cannes Film Festival: Official Selection
Official Selection 2023
Competition
- Jeanne du Barry, Maiwenn
- A Brighter Tomorrow, Nanni Moretti
- About Dry Grasses, Nuri Bilge Ceylan
- Anatomy Of A Fall, Justine Triet
- Asteroid City, Wes Anderson
- Banel Et Adama, Ramata-Toulaye Sy
- Club Zero, Jessica Hausner
- Fallen Leaves, Aki Kaurismaki
- Firebrand, Karim Aïnouz
- Four Daughters, Kaouther Ben Hania
- Jeunesse, Wang Bing
- Kidnapped, Marco Bellocchio
- La Chimera, Alice Rohrwacher
- La Passion De Dodin Bouffant, Tran Anh Hung
- Last Summer, Catherine Breillat
- May December, Todd Haynes
- Monster, Hirokazu Kore-eda
- The Old Oak, Ken Loach
- Perfect Days, Wim Wenders
- The Zone Of Interest, Jonathan Glazer
Out Of Competition
- Cobweb, Kim Jee-Woon
- The Idol, Sam Levinson
- Indiana Jones And The Dial Of Destiny, James Mangold
- Jeanne du Barry, Maiwenn (opening film)
- Killers Of The Flower Moon, Martin Scorsese
Midnight Screenings
- Acide, Just Philippot
- Kennedy, Anurag Kashyap
- Omar La Fraise, Elias Belkeddar
Cannes Premiere
- Bonnard, Pierre And Marthe, Martin Provost
- Cerrar Los Ojos (Fermer Les Yeux), Victor Erice
- Kubi, Takeshi Kitano
- Le Temps D’aimer, Katell Quillévéré
Special Screenings
- Le Bruit Du Temps, Anselm Kiefer, Wim Wenders
- Man In Black, Wang Bing
- Occupied City, Steve McQueen
- Pictures Of Ghosts, Kleber Mendonça Filho
Un Certain Regard
- The Breaking Ice, Anthony Chen
- The Buriti Flower, João Salaviza, Renée Nader Messora
- The Delinquents, Rodrigo Moreno
- Goodbye Julia, Mohamed Kordofani
- Hopeless, Kim Chang-hoon
- How To Have Sex, Molly Manning Walker
- If Only I Could Hibernate, Zoljargal Purevdash
- Le Regne Animal, Thomas Cailley (UCR opening film)
- Les Meutes, Kamal Lazraq
- The Mother Of All Lies, Asmae El Moudir
- The New Boy, Warwick Thornton
- Omen, Baloji Tshiani
- Rien À Perdre, Delphine Deloget
- Rosalie, Stephanie di Giusto
- The Settlers, Felipe Gálvez
- Simple Comme Sylvain, Monia Chokri
- Terrestrial Verses, Ali Asgari, Alireza Khatami
Tuesday, January 3, 2023
Funke Akindele’s "Battle on Buka Street" Overtakes James Cameron's "Avatar: The Way of Water" in Top 20 Movies in Nigeria
Funke Akindele’s "Battle on Buka Street" Overtakes James Cameron's "Avatar: The Way of Water" in Top 20 Movies in Nigeria
The current box office report from the Cinema Exhibitors Association of Nigeria (CEAN) for the top 20 movies in Nigeria shows the Nollywood comedy, Funke Akindele’s "Battle on Buka Street" at the #1 position with N252, 625, 736 from 93, 223 admissions followed by James Cameron's "Avatar: The Way of Water" at the #2 position with N222, 372, 805 from 73, 449 admissions.
"The Battle on Buka Street" grossed more than N135 million on the first day of the opening weekend, the biggest single day for a Nollywood film in 2022.
"Battle on Buka Street" is a 2022 Nigerian comedy drama film directed by Funke Akindele and Tobi Makinde. The film is jointly produced as a collaboration between Funke Ayotunde Akindele Network (FAAN) and FilmOne Entertainment.The film had its theatrical release on 16 December 2022
Half sisters, YEJIDE and AWELE are rival mama put sellers who are not strangers to competing; they were born a minute apart to different women and married to different men on the same day . To them, there is a silent competition where one woman must out do the other, but when a set of coordinated attacks on homes and shops in their community become frequent, these rival mama put sellers must come together and put their differences aside, proving that indeed blood triumphs over petty squabbles.
Starring
Funke Akindele
Mercy Johnson
Sola Sobowale
Tina Mba
Nkem Owoh
Femi Jacobs
Kelvin Ikeduba
Edited by Valentine Chukwuma
#Avatarthewayofwater
#Nollywood
#Hollywood
#Jamescameron
#FunkeAkindele
#comedy
#scifi
#fantasy
#movies
Saturday, October 22, 2022
Elesin Oba, The King's Horseman, Anikulapo and the Obsession for Netflix in Nollywood
Elesin Oba, The King's Horseman, Anikulapo and the Obsession for Netflix in Nollywood
Tuesday, June 7, 2022
Nollywood and the French Connection
Nollywood and The French Connection
Projet | Producteur ou réalisateur | Genre | Aide accordée | Origine | Année |
Our husband has gone mad again | Albert Egbe | TV Series (13 x 26 minutes) | 40 000 euros | Fonds Images Afrique | 2003 |
The Virgin ?
| Tunde Kelani | TV Series | 35 000 euros | Fonds Images Afrique | 2003 |
Claws of the lion | Francis Onwochei | Feature Film | 30 000 euros | Fonds Images Afrique | 2004 |
Tides of Fate | Greg Odutayo | TV Series | 40 000 euros | Fonds Images Afrique | 2005 |
Eternal | Chikeh Ibekwe | Feature Film | 40 000 euros | Fonds Images Afrique | 2005 |
The Head of State | Jimi Odumosu |
| 45 000 euros | Fonds Images Afrique | 2005 |
Changing Faces | Faruk Lasaki |
| 60 000 euros | Fonds Images Afrique | 2005 |
Off Campus | Chikeh Ibekwe |
| 35 000 euros | Fonds Images Afrique | 2005 |
Relentless | Andy Amadi Okoroafor |
| Aide réécriture
100 000 euros | Fonds Images Afrique | 2005
2006 |
- By Ekenyerengozi Michael Chima
Publisher/Editor
NOLLYWOOD MIRROR®Series
Wednesday, May 25, 2022
The Best Films from Africa and its Diasporas Come to the 19th Edition of the Tarifa African Film Festival
The Best Films from Africa and its Diasporas Come to the 19th Edition of the Tarifa African Film Festival
This event will be held from 27 May to 3 June in the Andalusian town of Tarifa, a cross-border town between Morocco and Spain.
The opening film is the Nigerien film Walking on Water, the closing film is the Somali film The Gravedigger's Wife.
Tarifa, May 2022. The Tarifa African Film Festival celebrates its 19th edition with an official session made up of films from Tunisia, Sao Tome and Principe, Ethiopia, Egypt, Benin, Reunion, Rwanda, Central African Republic, Democratic Republic of Congo, Senegal, French Guiana, Nigeria, Guinea Bissau, Madagascar and Angola, as well as two major retrospectives, one dedicated to the links between cinema and literature and the other focusing on the Egyptian filmmaker Atteyat Al Abnoudy.
The two great retrospectives of the Tarifa African Film Festival
The big bet of this edition will be Entre la tinta y la pantalla, a parallel section that delves into the relationship between literature and cinema, through sixteen titles produced from the 1960s to the present day that cover countries such as Senegal, Mozambique, South Africa, Mauritania, Burkina Faso, Algeria, Angola, Morocco and Afro-Cuban descent. Among the filmmakers present in this section, some historical ones stand out, such as Ousmane Sembène (Senegal), Med Hondo (Mauritania) or Djibril Diop Mambéty (Senegal); as well as other contemporary ones, such as Dani Kouyaté (Burkina Faso) or Mariano Bartolomeu (Angola), among others. As for literary authors, we find classics such as Naguib Mahfuz (Egypt), an emblematic figure of the new Arab novel, Abdoulaye Mamani (Níger), Moussa Diagana (Mauritania), Assia Djebar (Algeria, literary pseudonym of Fatema Zohra), Malek Alloula (Algeria) and Mia Couto (Mozambique), one of today's most important authors.
The FCAT dedicates a major retrospective to the Egyptian filmmaker Atteyat Al Abnoudy (1939-2018), considered the "mother of the Egyptian documentary" and one of the pioneering directors in the Arab world. Nicknamed "filmmaker of the poor", her decision to film people in a daily life of hard work and precariousness was a scandal at a time when film was perceived as a propaganda weapon by the authorities.
FCAT official sessions: 20 titles from 18 African countries
The African presence at the major international festivals provided a great harvest of films from the continent. The official feature film section of the FCAT, called Hypermetropia, offers films from Rwanda, Tunisia, Egypt, Haiti, Mali, Benin, Reunion, Ethiopia, Central African Republic, Democratic Republic of Congo and, for the first time, a film from Sao Tome.
The ten titles in Hypermetropia are among the most daring on a formal level and imbued with great visual poetry. Most of them are works by young filmmakers, films that dialogue with each other on the issues of exile, from the dream of an idealised place (Faya Dayi, by Jessica Beshir, Ethiopia) to the uprooting, the violence of the host country (Lèv la tèt dann fenwar, by Erika Étangsalé, La Réunion). Another theme is the struggle for dignity (Xaraasi Xanne, by Malians Bouba Touré and Raphaël Grisey).
Films that propose a representation of women far from clichés (Black Medusa, by Ismaël and Youssouf Chebbi, Tunisia), of their emancipation and empowerment (Feathers, by Omar El Zohairy, Egypt) and (Freda, by Gessica Géneus, a film from Haiti and Benin), but also highlighting the necessary liberation of men from their own mental shackles (Une histoire d'amour et désir, by Tunisian Leyla Bouzid).
Films that revisit the traumas and forgotten episodes of history (the documentary Constelaçoes do Equador, by Silas Tiny, the first film from Sao Tome and Principe in the FCAT); a portrait of the concerns and aspirations of youth (Nous, étudiants! by Rafiki Fariala, from the Central African Republic); or the screening of an Afrofuturist, anti-colonialist, anti-capitalist and queer vision of the continent (Neptune Frost, by Rwandans Saul Williams and Anisia Uzeyman).
África en breve, the competitive short film section continues to be an incubator of talent on the African continent, with titles dealing with colonial violence (Écoutez le battement de nos images, by Audrey & Maxime Jean-Baptiste, French Guiana), colonial representation (Kapita, by Petna Ndaliko, Democratic Republic of Congo) and resistance to colonial domination (Mangrove School, by Filipa César & Sónia Vaz Borges, Guinea Bissau, Portugal).
Also, the violence of war (Vou Mudar a Cozinha, by Ondjaki, Angola), gender violence (Imuhira, by Myriam Uwiragiye, Rwanda) and (Microbus, by Maggie Kamal, Egypt); the emotional violence of leaving childhood (Astel, by Ramata-Toulaye, Senegal) and the violence of exile and uprooting (Egúngún, by Olive Nwosu, Nigeria). Comedy is also present in this selection, through the meta-cinema in an international premiere (The Unusual Kinky Quaint Peculiar Weird Strange Rum Queer Odd and Bizarre Day of a Shadow Man, by Hary Joel, French Guiana) or magical realism (Precious Hair & Beauty, by John Ogunmuyiwa).
Additionally, outside the official competition is La tercera raíz, a section dedicated to Afro-descendants. The 19th edition of the festival will be dominated by films from the Dominican Republic, where the cultural legacy of Africa is present in all areas of people’s life.
The opening and closing film of the 19th edition of the festival
The opening film of this year's festival, the documentary Marcher sur l'eau (Aïssa Maïga, 2021), a co-production between Niger and France, is set in the village of Tatiste in Niger, where Houlaye, a 14-year-old teenager, and other children travel kilometres to fetch the water the village needs to survive. The closing film, The gravedigger's wife (Khadar Ayderus Ahmed, 2021), a Somali film presented at the Cannes Critics' Week, will be screened on Friday, 3 June, after the prize-giving ceremony of the 19th FCAT. A tender portrait of an African couple facing a health problem.
The poster, the work of the Italian-Senegalese artist Maïmouna Guerresi
This year's poster was created by Maïmouna Guerresi, an Italian-Senegalese multimedia artist whose work is steeped in Sufi spirituality. The work, which belongs to her series Aïsha in Wonderland, brings a feminine energy to this powerful image that alludes to "cultural and spiritual crossbreeding".
Industry and training at FCAT
The FCAT LAB post-production workshop, which offers support for featured films from Africa in the form of prizes, will once again be active at this year's edition. The FCAT LAB 2022 will take place in online format as part of the actions programmed in the Tree of Words, the space dedicated to the professional and training activities of the African Film Festival-FCAT.
For its part, the Instituto de la Cinematografía y de las Artes Audiovisuales (ICAA) will organise a showcase in Tarifa, where five Spanish companies representing post-production services will present themselves to African producers and directors both in person and via streaming.
The Aula de cine will also take place, under the title Relatos ensoñados. El arte narrativo en los cines africanos, an in-depth course on the evolution and characteristics of African cinema, given by the programmer and film critic Javier H. Estrada (Spain). All the filmmakers that will be analysed in the Aula share an iconoclastic spirit, authentic aesthetic renovators who also observed the realities of their countries with a profoundly critical eye. During four sessions, cinematographies such as those of Mali, Egypt, Tunisia and Angola will be addressed, highlighting their past and present relevance.
The Festival de Cine Africano-FCAT is the most important film festival of the continent and of African descent in the Spanish-speaking world and has a film collection of more than a thousand titles translated into Spanish.
For more information you can contact the communication office:
Marta Jiménez: gabineteprensa@fcat.es
Valeria Reyes: comunicacion3@fcat.es
Wednesday, April 6, 2022
Why Bollywood and Nollywood Have Not Won the Oscar for the Best International Feature Film
Why #Bollywood and #Nollywood Have Not Won the #Oscar for the Best International Feature Film
#Oscars
#academyawards
#movies
In nearly 75 years, the Oscar for best international film has only gone to an African production three times and a Bollywood production has never won. Europe dominates the category. Why?
Bollywood also snubbed by Hollywood
Half of the Asian-winning films are Japanese productions. Despite the size of Bollywood's film industry, India has never won the best international film award.
Another reason is the lack of financial means to promote Indian films to the Academy, says Namrata Joshi, an Indian film critic and author who has served on international film festivals juries in Toronto, Moscow and Cluj.
Even though Nigeria's internationally renowned Nollywood industry produces around 2,500 films a year, it hasn't won a single foreign film Academy Award.
Nollywood productions often do not meet the technical requirements of a cinema film since the focus is on home television. According to Ayorinde, streaming services like Netflix could change the situation significantly. Netflix is raising the bar, he says, by requiring cinematic standards even for films made for home viewing.
Read the report on
https://amp.dw.com/en/oscars-where-are-the-african-films/a-61187154
Highly recommended: Nigerians Report Online: Why Nollywood Filmmakers Have Failed To Qualify for the Oscars and Cannes
Friday, September 10, 2021
VIFF Announces 40th Edition Festival Lineup
VIFF ANNOUNCES 40TH EDITION FESTIVAL LINEUP,
A RETURN TO IN-CINEMA PRESENTATIONS
AND EXPANDED VIFF CONNECT ACCESS
40th Vancouver International Film Festival
October 1 – 11, 2021
"Perhaps more than any other art form, film has helped us through these past 18 months," says Kyle Fostner, Executive Director. "Isolated in our homes, we turned to movies for a connection to a larger world, full of perspectives, ideas, and culture. Our milestone 40th edition will be a celebration of cinema that shares the singular joy of experiencing incredible storytelling safely together, basking in the warm glow of the big screen. At the same time, we’ll continue to offer the opportunity and accessibility gained with last year’s model — with 85 per cent of our festival's vast and varied offerings available online via VIFF Connect. And for the first time, a large selection of films will also be available online across Canada."
VIFF Board Chair Lucille Pacey adds: "VIFF has always been a festival rooted in community and cinematic excellence. We mark this special edition by reconnecting with those who have supported us through the past four decades and with those who are only just discovering all that VIFF has to offer. VIFF's remarkable team has programmed an extraordinary lineup that highlights the voices of today and looks to the future of filmmaking."
“For our 40th edition, our programmers have curated a diverse selection of international cinema that includes work from dozens of countries and countless communities here in Canada,” says Curtis Woloschuk, Associate Director of Programming. “It’s a lineup that truly offers a plurality of perspectives. Many of this year’s selections are born of this era, as they share stories of reconnections with family and community, and employ structures that bend time. There are 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. Likewise, there are films that testify to the transportative power of creativity and remind us that, even when it’s darkest, we can dream.”
Tickets are now on sale at viff.org. Single tickets are $15 for in-cinema presentations, $17 for in-cinema Special Presentations, and $10 for VIFF Connect. All-access VIFF Connect passes are $80, and will provide access to a selection of film titles and VIFF Talks streamed online. The Limited Edition Festival Pass is $725, and will provide access to all in-cinema and online screenings. While a selection of the film programming via VIFF Connect will remain geo-blocked to the province, a vast majority of films will be available across Canada. VIFF Talks, VIFF AMP, Totally Indie Day, and VIFF Immersed will be livestreamed Canada-wide and internationally, providing an unprecedented level of access to filmmakers and fans around the globe.
View the full press kit and the VIFF 2021 sizzle reel HERE.
With the generous support of these partners:
facebook.com/VIFFest
youtube.com/VIFFest
twitter.com/VIFFest
instagram.com/VIFFest
#VIFF2021
About VIFF | viff.org
Founded in 1982, the Greater Vancouver International Film Festival Society is a not-for-profit cultural society and federally registered charitable organization that operates the internationally acclaimed Vancouver International Film Festival (VIFF) and the year-round programming at the VIFF Centre. VIFF produces screenings, talks, conferences, and events that act as a catalyst for the community to discover the creativity and craft of storytelling on screen. For its 40th edition, VIFF takes place both online and in-cinema, from Oct. 1–11, 2021, showcasing the top international, Canadian, and BC films along with creators and industry professionals from around the globe.
VIFF is presented on the traditional and unceded territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səl̓ílwətaʔɬ/Selilwitulh (Tsleil‑Waututh) Nations.
press@viff.org
Laura Murray | lmurray@mpmgarts.com | 604.418.2998
Ines Min | imin@mpmgarts.com | 604.440.0791