Josh and his father visit their family cabin in Saskatchewan for the last time, confronting the generational differences between their Cree heritage and Josh's urban lifestyle.

Tia (Bshara) is a 10-year-old refugee from Syria, living in Montreal and struggling to make friends and feel comfortable in her new environment. While her parents are preoccupied with her mother’s pregnancy and the challenges of everyday life in a new place, Tia is left mostly to her own devices. 

Everything changes when she discovers a magical portal that transports her to Igloolik, a community in the Arctic Circle. There she meets Piujuq (Tulugarjuk), an Inuk girl who she quickly forms a deep bond with in spite of their cultural differences. Through their friendship, the stories of Piujuq’s grandmother, and their wanderings across the striking northern landscape, the girls are immersed in Inuit myth and magic. 

A heartwarming magical-realist fable about friendship and discovery, Tia and Piujuq is a delightful adventure for all ages. 

Rob Stewart’s final film brings another urgent message about shark conservation, as a new threat faces this misunderstood predator. While the inhumane practice of shark finning is being banned worldwide, Stewart goes deeper to find the pirates that continue to hunt sharks by manipulating legal loopholes. As beautifully shot and thrilling as his previous films, Sharkwater Extinction is an urgent call to action, in the face of a continuing decline in the worldwide shark population, with millions of sharks still being killed each year.

This was Rob Stewart’s final film before he tragically passed away in 2017, and it stands as a lasting legacy of his activism and courage.

“[Stewart’s] passionate documentary, boasting stirring underwater photography and an equally poignant score, speaks urgently on his behalf.” — Michael Rechtshaffen, Los Angeles Times

The Weiss family seem to be living the Hollywood dream. They have money, fame, the envy of their peers, and more than their fair share of skeletons in their closet. Stafford Weiss (Cusack) is a TV self-help therapist with an A-list clientele. Meanwhile, Cristina (Williams) has her work cut out managing the career of their disaffected child-star son, Benjie (Bird), freshly out of rehab at age 13.

Unbeknownst to them, another member of their brood has just arrived in town – the mysteriously scarred Agatha (Wasikowska), recently released from a psych ward. Agatha befriends a limo driver (Pattinson) and becomes the assistant to one of Stafford’s clients, (Moore) who is haunted by the abuse she suffered at the hands of her legendary mother (Gadon).

A wickedly funny trip into the depravity of Hollywood and a compelling meditation on the ways family can haunt us both literally and figuratively,  Maps to the Stars won 10 awards including two CSAs and two awards at the Cannes Film Festival, and was nominated for 20 others internationally.

It is 1961 in Kapuivik, north Baffin Island, and Noah Piugattuk’s nomadic Inuit band live and hunt by dog team as his ancestors did when he was born in 1900. When the white man known as Boss arrives at Piugattuk’s hunting camp, what appears as a chance meeting soon opens up the prospect of momentous change. 

Boss is an agent of the government, assigned to get Piugattuk to move his band to permanent housing, assimilate his children into settler society and give up their traditional way of life. 

Told through the extended showdown between Inuit camp leader Noah Piugattuk (Kotierk) and a government emissary (Bodnia) (as well as the translator who must help them communicate), One Day in the Life of Noah Piugattuk is a deeply absorbing account of a little-known and important piece of Inuit and Canadian history.

“One Day In The Life Of Noah Piugattuk illustrates Inuit-colonial relationships brilliantly.” - Kelly Boutsalis, NOW Magazine

Shot in 1972 but released three years later, Bar Salon is a minimal, subtle drama that tells a tender and socially observant story. This simply shot black-and-white film follows Charles (L’Ecuyer), a down-on-his-luck salon owner who’s on the brink of losing his bar. With nothing left to do but close up shop, he manages to snag a gig that may go his way, but that too goes south.

This tender, witty and relatable slice-of-life film established writer/director André Forcier as a strong new voice in Quebec cinema. Forcier treats his characters with respect and affection, providing compelling insights into the gritty reality of their lives.

Maggie (Karyn Dwyer) is happy with her life in Vancouver. She works at an LGBTQ+ bookstore owned by Frances (Anne-Marie MacDonald) and has recently fallen head over heels with a young artist named (Christina Cox). When the couple decide to take their romance to the next level and move in together, everything seems perfect.

That is, until Maggie’s recently-divorced mom Lila (Wendy Crewson) and brother Paul turn up at her doorstep, looking to stay with her. The unlikely foursome end up sharing Maggie’s Vancouver loft, and Maggie must decide whether to keep her relationship – and her sexuality – a secret, or reveal who she really is to her well-meaning but naïve and conservative mother.

“Anne Wheeler's sexy, funny, poignant film, from a bright script by Peggy Thompson, is a real charmer, with considerable brains.” – David Noh, FilmJournal International

Fifteen years ago, Inuk filmmaker Zacharias Kunuk won the prestigious Caméra d’or for Best First Feature at Cannes with Atanarjuat: The Fast Runner. His second feature, The Journals of Knud Rasmussen, opened TIFF in 2006. A decade later, Kunuk and collaborator Natar Ungalaaq have used the plot of John Ford’s 1956 western The Searchers as inspiration for a very different kind of revenge story, in which an Inuk man and his band of maliglutit ("followers") set out across the barren Arctic in search of the marauders who have ransacked his home and kidnapped his wife.

Like Ford’s film, Kunuk's Maliglutit (Searchers) explores the repercussions of violence, asking whether these hunters have begun to act like those who have torn apart their family. Very unlike Ford, Kunuk questions not only the colonial ideology inherent to the western genre, but also the possibility of justice in a seemingly unjust world. With a tale as timeless as the landscape in which it is set, Canada’s foremost Inuk filmmaker has provided us with another classic.