Violet Columbus is a writer-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: Documentary filmmaker Christine Choy tracks down three exiled dissidents from the Tiananmen Square massacre in order to find closure on an abandoned project she began shooting 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. I needed to see women like her in film growing up, and I wanted more people to know about her pioneering work in 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? Share some insights into how you got the film made.
VC: Early on, the film was funded by Maiden Voyage Pictures, who are also executive producers. At the end of 2019, we were able to show Steven Soderbergh a three-minute sizzle reel, and that was enough to pique his interest. He came on board as an executive producer and helped with funding during post.
W&H: What inspired you to become a filmmaker?
VC: I originally went to acting school at NYU for one semester, and while feeling absolutely uncomfortable on stage, I fell in love with directing the actors and dissecting the scenes. I realized how many stories I wanted to tell and transferred to film school, intent on being 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 started wanting to make films a little later than some of my peers, and I let that affect 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. Make whatever you want to make 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. I love how much heart it has.
W&H: How are you adjusting to life during the COVID-19 pandemic? Are you keeping creative, and if so, how?
VC: I’ve always been a bit of a homebody, so staying inside all the time has been pretty ok.
Being creative during COVID has been different, though. 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 actions do you think need to be taken to make it more inclusive?
VC: Everyone can benefit from new stories being told from perspectives that haven’t been heard. I think a commitment to searching for filmmakers that have something new to say would help include all types of creators.
