The Rio Theatre is proud to be one of the returning hosting venues for
The Vancouver International Film Festival
The festival runs Sept 27th – Oct 12th, 2018
For VIFF Full schedule visit: viff.org
All tickets, passes and packs ON SALE NOW!
Our full lineup is online now, but some of the content is not yet in 100% working order. Please check back over the next few days when we’ve had a chance to apply the spit and polish.
Tickets: Tickets will be available at the box office of each venue once the festival is up and running or online through.
Please note All Pre-Festival tickets are available in person sales start Sept. 13 at Vancity Theatre Box office, 1181 Seymour St. noon – 7pm.
No Groupons or Rio passes are accepted for VIFF screenings
VIFF General Inquiries to firstname.lastname@example.org
Box Office Helpline: 604.683.3456
Doors open half hour before doors
ALT | Altered States
As Y2K approaches and apocalyptic paranoia hits a fever pitch, Abbie (Joshua Burge) has but one objective: he’s finally going to conquer Pac-Man’s legendary Level 256 and beat the villainous Billy Mitchell’s record in the process. His sadistic, enabling brother, Cam (David Dastmalchian), has thrown down a particularly grueling gauntlet for good measure: Abbie isn’t allowed to leave the couch until the deed is done. With his ensuing months of solitude only occasionally infringed on by his slacker buddies, Abbie ultimately reaps the fruits of his misguided ambition when a pair of 3D glasses grant him a degree of power and influence he’s never experienced before.
Punk auteur Joel Potrykus (Buzzard, VIFF 14) takes this living-room-as-Lifeboatconcept and runs with it, anchoring his slacker protagonist in place as civilization crumbles around him and rampant, metaphor-rich absurdity rises in its place.
“A masterpiece of depraved ’90s nostalgia… Both hilarious and mesmerizing… Burge, whose lanky features and saucer-shaped eyes recall Buster Keaton, is a perfect vessel for Abbi’s outrageous conundrum… Relaxer finds its groove as both slapstick and a masterful surrealist media satire. “—Eric Kohn, IndieWire