The Montreal Asian International Film Festival (MAiFF) is underway in Montreal, marking a major transformation for the long-running event formerly known as the Korean Film Festival Canada.
Now in its 13th edition, the festival runs from May 14 to June 13 and presents more than 60 films alongside workshops, talks, and public events.
The programming highlights cinema from across Asia as well as works from the Asian diaspora, positioning the festival as a broader cultural platform than in previous years.
This year’s edition is structured around the theme “Tangibility: Body, Soil, Stories,” a focus that organizers say will continue to guide programming through 2027.
The theme emphasizes physical experience, memory, and place, and connects films across different regions and generations of Asian filmmakers.
The festival is organized by Arts East-West, a Montreal-based non-profit media arts organization that has been active since 1995. According to founder and artistic director Mi-Jeong Lee, the rebranding reflects both continuity and a deliberate expansion of scope after three decades of programming.
“We’ve been here over 30 years as a non-profit media organization in Montreal since 1995. Thirty years of bringing together Asian, Asian-Canadian and Asian-Quebecois communities around cinema and media arts,” she said.
Lee described this year as a structural turning point for the organization’s flagship festival.
“This year marks a profound transformation from Korean Film Festival Canada into MAiFF, the Montreal Asian International Film Festival. We are keeping the same roots while boldly expanding our vision.”
While the name and scope have changed, she emphasized that Korean cinema remains central to the programming even as the festival broadens its focus to include works from across Asia and global Asian diasporas.
“Embracing all of Asia and all Asian-Canadian diaspora films around the world, while keeping our Korean cinema at our heart.”
According to Lee, the transition reflects both audience demand and the evolving needs of filmmakers seeking wider international exposure.
“They are looking for more platforms, so instead of a national cinema focus as a Korean Film Festival Canada, they want us to take a role in expanding our vision more inclusively, including all Asia.”
The shift positions MAiFF as a more expansive cultural hub, aiming to connect artists and audiences across different Asian film industries while maintaining strong ties to Montreal’s local communities.
This year’s programming also includes a retrospective focus on the Asian New Wave of the 1990s, featuring influential filmmakers from Japan, Hong Kong, and Korea. The selection highlights films that shaped contemporary Asian cinema and continue to influence filmmakers today.
Among the featured screenings was Love Letter (1995), directed by Japanese filmmaker Shunji Iwai. The film was shown at Cinéma Moderne on Monday night.
Lee described the film’s enduring emotional resonance:
“It’s a love letter sent into the void that she doesn’t expect reply. It’s about memory and feeling, longingness that stays with us long after credit rolls.”
MAiFF programming continues across multiple venues in the city, including Goethe-Institut Montréal and Cinéma Moderne, along with additional cultural spaces hosting screenings and events.
Lee said the scale of the festival reflects years of behind-the-scenes work and organizational rebuilding.
“It’s a lot of work… we had to put a lot of effort and time and resources to rebuild the ground frame of Montreal Asian International Film Festival.”
As the festival continues through June 13, organizers say the goal is to further establish MAiFF as a long-term platform for Asian and diaspora cinema in Montreal, bridging local audiences with international film movements.
