Violet Columbus is a writer and director currently living in New York City. She graduated from NYU’s Tisch School Of The Arts in 2016. “The Exiles” is her debut feature film.
“The Exiles ” is screening at the 2022 Sundance Film Festival, which is running online from January 20-30. More information can be found on the fest’s website. “The Exiles” is co-directed by Ben Klein.
W&H: Describe the film for us in your own words.
VC: Christine Choy is a documentary filmmaker who tracks down three exiled dissidents involved in the Tiananmen square massacre. This is to close an abandoned project that she began in 1989.
W&H: What drew you to this story?
VC: When I was introduced to Christine Choy and her immense catalog, I was shocked I hadn’t heard about her before. Growing up, I needed to see women like Christine Choy in film. I also wanted to tell more people about her pioneering work with documentary.
Soon after Ben and I started a film about her life and career, she trusted us with nine hours of footage from 1989, and “The Exiles” began to take shape.
W&H: What do you want people to think about after they watch the film?
VC: I want people to think about how critical filmmaking can be within a historical context and that it’s never too late to tell an important story.
W&H: What was the biggest challenge in making the film?
VC: Because she’s a director herself, Christine Choy is hyperaware of the presence and power of a camera. It took some finessing to get to a spot where Christine was comfortable enough with our cameraman to capture more natural moments and a “fly on the wall” feeling.
W&H: How did you get your film funded? Please share your insights on how you got the film made.
VC: The film was funded early by Maiden Voyage Pictures who are also executive producers. We were able show Steven Soderbergh a three minute sizzle reel at end of 2019, which was enough to spark his interest. He was an executive producer and assisted with post-production funding.
W&H: What inspired you to become a filmmaker?
VC: I went to NYU acting school for one semester. Despite feeling very uncomfortable on stage, I fell in LOVE with directing actors and dissecting the scenes. I realized how many stories there were and decided to transfer to film school in order to be a filmmaker.
W&H: What’s the best and worst advice you’ve received?
VC: Best advice would have to be from Christine herself: “Do things nobody dares to do. Make films nobody dares to make.”
Worst advice: “Failure is not an option.” It is, it’s fine, and you’ll learn something.
W&H: What advice do you have for other women directors?
VC. I began my desire to make films later than some of my peers. This affected my confidence. I wish I had been more sure of myself, so I guess remember that, just like there’s always someone better than you, there’s also always someone worse. You can do whatever you want and stand behind it.
W&H: Name your favorite woman-directed film and why.
VC: I really appreciate the 2003 Patty Jenkins film “Monster.” It’s extremely bold and sure of itself with expertly directed actors. It has so much heart.
W&H: How are you adjusting to life during the COVID-19 pandemic? Are you creative? If so, how?
VC: I’ve always been a bit of a homebody, so staying inside all the time has been pretty ok.
COVID has made it difficult to be creative. I’m less active in the community and new projects are harder to come by, so I’m finding time to watch things I’ve always wanted to or revisit other creative outlets like music.
W&H: The film industry has a long history of underrepresenting people of color onscreen and behind the scenes and reinforcing — and creating — negative stereotypes. What are your suggestions for making it more inclusive?
VC: Everyone can benefit from new stories being told from perspectives that haven’t been heard. All creators should be encouraged to search for filmmakers who have something to share.
Source: Women And Hollywood
