This year, the Calgary International Film Festival has programmed over 200 films, with approximately half being Canadian productions or co-productions. Among the international lineup, the U.S. and Europe maintain a strong presence, alongside works from Asia and Latin America.
“For international films, we’re looking for strong titles that represent different voices and can hit different targets and demographics,” says lead programmer Brenda Lieberman. “Sometimes it’s a cultural connection. Sometimes it’s a story that’s universal and translates well.”
Representation spans genres and includes a wide range of voices. “We aim for a curatorial balance. Films for younger audiences, films for older adults, and a mix of genres — drama, psychological thrillers, comedies, family stories,” Lieberman adds.
“It’s about building a well-rounded program with options, including films that are great introductions to world cinema and works from directors our audience already follows.”
PERSONAL STORIES: FAMILY AND SELF-DISCOVERY
Across both Canadian and international titles, many stories centre on characters navigating profound change; overcoming loss, redefining identity, or reconnecting with their past. “Since COVID, there’s been an increase in personal stories told through the director’s lens — projects inspired by their own past, family experiences, or deeply personal themes,” says Lieberman.
Canadian selections explore queer identities (Anyway, I Piss Sitting Down, It Will Always End in the End), mental health journeys (Paul, Love, Harold), and family narratives (The Nest, Mother, Unfolding Faith).
International programming offers coming-of-age stories (Our Hero, Balthazar, DJ Ahmet, A Brighter Summer Day for the Lady Avengers), alongside intimate portraits of caregiving (Rosemead, Paternal Leave).
“We’re seeing this [trend] both internationally and in Canadian submissions, likely influenced by more female directors and the personal life stages of the filmmakers telling these stories.”
COMMUNITIES IN FOCUS
Many works spotlight specific communities and their traditions. In the Canadian lineup, Indigenous narratives hold a prominent place, with stories of resilience and cultural heritage in Siksikakowan: The Blackfoot Man, Saints and Warriors, and Nika & Madison.
Films like Agatha’s Almanac and Fruit is Ripe celebrate rural traditions and intergenerational knowledge.
Singhs in the Ring traces the legacy of an Indo-Canadian wrestling icon. “Stampede wrestling is always a hot subject matter here,” says Lieberman, pointing to the film’s local resonance.
International selections lean toward political and social undercurrents, addressing immigration, systemic oppression, and marginalization in Grandma’s Four Color Cards, Under the Burning Sun, and Lowland Kids.
PERFORMANCE AS STORYTELLING
Several films use performance as both subject and storytelling lens. Canadian highlights include Have You Heard Judi Singh? and Pidikwe (Rumble). Each traces personal histories and cultural legacies through music and dance. The Silver Screamers documentary finds connection through performance in unexpected ways.
Internationally, art and performance anchor works like Just Sing, Kiss of the Spider Woman, and Speak., becoming vehicles for community connection and self-expression.
DIVERSITY OF FORM AND GENRE
This year’s lineup continues to move fluidly between genres and formats, with filmmakers embracing a spectrum of styles and narrative approaches.
Canadian animation ranges from the surreal whimsy of Bread Will Walk and Hypersensitive to the handcrafted stop-motion fable The Girl Who Cried Pearls. In live action, you’ll find the absurdist humour of Now, I Am a Bear alongside Dead Lover, an unhinged Frankensteinian romance.
“Canadian films can be anything from accessible comedies to emotional family dramas to horror,” says Lieberman. “We also love showcasing quirky, unique stories that feel fresh and original.”
International titles also offer a spectrum of styles, ranging from the mystical realism of The Blue Trail to the psychological intensity of Mirrors No. 3, or the poetic dreamscape of Chicken Salad.
Many of these films explore similar themes through a unique lens, meeting at that point where cinema speaks the shared language of human experience. As Lieberman puts it, “A lot of humans are going through the same thing, no matter where they’re from.”
When CIFF celebrates the voices of Canadian filmmakers, their works — programmed alongside international titles — become part of a global conversation.
