Many of Canada’s stalwart film festivals have expanded into a year-round presence with a cinema: Toronto International Film Festival (TIFF), Hot Docs Film Festival, Available Light Film Festival, and this month’s feature: Vancouver International Film Festival (VIFF).
The stunning VIFF Centre sits in the heart of Vancouver’s downtown and has a gorgeous, modern façade. This summer, VIFF Centre underwent a significant renovation to sustain its world-class cinema-going experience with 4k laser projection, a new screen, reupholstered seats and added immersive Dolby Atmos sound.
With a mandate to foster cultural understanding and celebrate artistic excellence, in a typical month VIFF Centre might show more than 30 different titles: first-run art house titles from all over the world, documentaries, Indigenous and Canadian films (they showed more than 40 homegrown features last year), some second run, and repertory seasons.
This Thursday, September 26, 2024, their eponymous festival VIFF starts its 11-day run. With a vibrant mix of films, industry programs and special events, the festival is a key engagement in every Vancouverite’s film calendar. Now in its 43rd year, VIFF has grown from strength to strength. Check out their festival lineup here.
This month, we speak with Tom Charity, VIFF’s year-round programmer since 2009.
Tell us about VIFF Centre:
The VIFF Centre was built to our specs as a 169-seat single screen art house, part of Vancouver civic amenity programme, and opened for year-round programming in 2006. We added a second, 41-seat screen in 2021.
This summer we upgraded our larger (Vancity) screen, with 4k laser projection, a new screen, reupholstered seats and added immersive Dolby Atmos sound.
What makes VIFF Centre unique?
We’re an independent venue with a mandate to foster cultural understanding and celebrate artistic excellence. We have zero interest in playing Marvel blockbusters (although we champion other independent cinemas’ right to do so). Our venue is a hub for the local film community; we’re home to many non-profit film festivals through the year – and of course, our own festival at the end of September.
What sort of films do you show?
First of all, we show a lot. In a typical month we might show more than 30 different titles: first run art house titles from all over the world, documentaries, Indigenous and Canadian films (we showed more than 40 homegrown features last year), some second run, and repertory seasons:
Our monthly Pantheon series highlights the greatest films ever made, with introductions by film scholars and audience talkbacks. Total Cinema celebrates the core components of the cinema experience: spectacle, sound and colour. Film Studies explores different aspects of film history and practice. Guest curated series this year have celebrated contemporary African cinema and First Nations films.
What are VIFF Centre’s greatest challenges?
It’s no secret that art house releases are struggling to connect with audiences like they used to. There’s a real problem with audience awareness now that nobody reads. Films that might have sustained a week or ten day run in the past might only be good for three or four shows now. On the other hand, there’s an exciting upswing in engagement for classic cinema right across the age spectrum.
What are your favourite compliments that VIFF Centre receives from your audience?
Our audience doesn’t just tell us they love what we do, they show it by coming back week after week – and, some of them, day after day. It’s also pretty sweet to have filmmakers tell us that their movie has never looked (or sounded) better, which happens quite often.
What’s a memorable film screening or event you hosted?
We’re doing more and more live music events – not only silent films with live scores, but also complementing movies with a related musical performance (next month we have a theremin player giving a lecture about his instrument, followed by Hitchcock’s Spellbound).
In August we had The Cowboy Bebop Bebop Band + Cowboy Bebop, the movie. It sold out in two days.
Going back further, I think my favourite event was a “screening” of Orson Welles’ legendary radio show War of the Worlds; just sitting there in the dark, imagining the mayhem as the aliens took over the States.
What are your most popular concession items?
We are licensed to sell wine and beer, which is great. But not if minors are present, which is ridiculous and means we’re mostly a 19+ venue. Also: popcorn.
What projects are you considering for the future?
We’re extending our education programming, working to maximize contributed revenues, and if you know of anyone who might want to sponsor us…?
Tell us about yourself; how did you get your start in film exhibition?
I studied filmmaking and film history in Canterbury, England, and ran the college film society there. I became a film critic, for Time Out London and Sight & Sound, then moved to Vancouver and freelanced for CNN and CinemaScope magazine. I also wrote a couple of books, including a critical biography of John Cassavetes, Lifeworks. I became the year-round programmer at VIFF in 2009.
