Mali Elfman is a writer, director, and BAFTA-nominated producer who began her career with her micro-budget feature film “Do Not Disturb.” Since then she’s produced numerous films including Karen Gillan’s directorial debut “The Party’s Just Beginning” and Mike Flanagan’s “Before I Wake,” as well as numerous immersive experiences, including the award-winning “Arcana.” She and filmmaker Laura Moss were selected as a team for the Tribeca and Chanel’s “Through Her Lens” Grant in 2019 and the Cannes Film Festival’s “Breaking Through the Lens” Program in 2020. Elfman has written and directed many short horror films, the most recent of which, “Locker Room Z,” was distributed by Amazon Prime. 

“Next Exit” is screening at the 2022 Tribeca Film Festival, which is taking place June 8-19.

W&H: Describe the film for us in your own words.

ME: In my experience, when the world changes suddenly, people don’t know how to react, and often people are forced to re-examine their choices. At the heart of it all, this is a story of two people who are both struggling with what haunts them and have to figure out what’s been stopping them from what they really want — and it’s set in a world of ghosts scientifically existing.

For me, the ghosts in this film give me hope that sometimes the things that scare us the most are actually what we need to move forward with our lives in this realm.

W&H: What drew you to this story?

ME: I don’t know if I was drawn to this story. It was a way for me to make sense of a world that makes no sense. I can go on a tangent here, from climate change and post-truth politics to personal losses — I’ll stop, but my brain is still spinning. There’s a piece of me that feels like this film was always self-aware and knew what was best for it and me.

This film was a very personal way of moving through the dark and confusing moments in my life. This film is my hope in the dark.

W&H: What do you want people to think about after they watch the film?

ME: What they want. Both meanings of that sentence.

For anyone who has somehow gotten themselves stuck in feeling lost, scared, or hurt and didn’t always deal with it in the “right” way, you’re not alone. If you’ve ever been stuck in something that feels insurmountable, there is hope.

W&H: What was the biggest challenge in making the film?

ME: Of course there was the pit in my stomach every day about Covid. We shot this at the height of Covid, before vaccines and we were too small to shut down and come back. It was a daily fear, but we worked hard and were able to provide a safe working environment for everyone. And I feel like that’s pretty universal at this point.

Maybe because I used up all my stress on that, making this film was quite possibly the happiest and calmest I’ve ever been in my life.

The hardest part, I think, is what’s happening now. Showing it to people. This film is from deep down inside of me. This is my heart and my brain on a platter with all the scars exposed. So yes, I’m currently terrified. But also excited. So let’s see what happens next!

W&H: How did you get your film funded? Share some insights into how you got the film made. 

ME: Nothing about me or this film is traditional. I tried to make this film in numerous iterations over eight years and I struggled until I found a unicorn.

Many impossible things happened while making this film, to the point that it became a joke on set where we would all say, “It doesn’t normally happen like this.” But somehow it keeps happening “like this.” That started with finding financiers that truly supported the film. Helmstreet Productions believed in the vision for this film and supported and emboldened the team to make the right choices. I also brought on Derek Bishé and Narnieh Hacopian very early – as both friends and producers they were able to take my crazy mind and help make those ideas real, and in a way that we all agreed was smart, safe, and the way we wanted a film set to work.

Once the mighty team came together, it was magical. As a truly empowered director, I was able to be completely vulnerable throughout this process of making this film, which allowed for the earnest and genuine nature of the story to come through.

If you like this film, know that part of the reason we were able to do so much and do it well is because, from the financing down, everyone was there to support one another and that’s how real art gets made and made well.

W&H: What inspired you to become a filmmaker?

ME: I can’t stop. I didn’t dream of anything I’m doing. I literally just can’t stop. The insane world of filmmaking is quite possibly the only thing that makes sense to me — that makes me calm and happy.

My hope is that the way that I work is something I have an impact with. How you make films, how you hire people, how you treat your cast and crew, empowering those around you to also express themselves and their strengths— all of this matters to me as much as the film itself.

W&H: What’s the best and worst advice you’ve received?

ME: Bring extra socks to set.

W&H: What advice do you have for other women directors? 

ME: We all know the challenges and things people say to keep the horrible cycles that have oppressed women, LGTBQ, non-binary and diverse filmmakers from succeeding. My advice would be to be aware of that, but not to let yourself get caught up in it. Do the work, prep it, know it, be ready — and then do it.

One of the most common things I see are the gatekeepers demeaning those on their way up. It hurts. I know it does. But it’s not the truth — it’s just their fear of the unknown. That isn’t your problem. Just remember, you’re already more than enough. Find the right people that believe that. When whoever those annoying people are question that, know your truth.

Also, never be afraid to walk away. This is a hard lesson because we all want to be in this world so badly. But with that, I have never walked away from something and regretted it, though I have fought for something that others didn’t really want, only to have my heart mangled and it not work in the end.

Lastly, I would not be here without many other women ahead of me who have graciously grabbed my hand and lifted me up when I needed it. The next time you see a filmmaker struggling and you have the capacity, help them. Even if it’s just a small thing.

W&H: Name your favorite woman-directed film and why.

ME: “The Babadook,” directed by Jennifer Kent, “Raw,” directed by Julia Ducournau, “Nomadland,” directed by Chloé Zhao, “Booksmart,” directed by Olivia Wilde, “American Psycho,” directed by Mary Harron, “Monster,” directed by Patty Jenkins, and “We Need to Talk About Kevin,” directed by Lynne Ramsay.

Most recently, “The Lost Daughter,” directed by Maggie Gyllenhaal, absolutely blew me away and I’m upset it didn’t get more awards. I thought the multi-generational discussion of motherhood from multiple angles was so important. The performances were stunning, the way the story flowed, and yet there was a tension under the surface that kept me uneasy and riveted. It was a masterful film.

W&H: How are you adjusting to life during the COVID-19 pandemic? Are you keeping creative, and if so, how? 

ME: Well, I made this, so that’s something! And did “Arcana,” an immersive game we did to help bring people together safely in May 2020. But I also got shingles and a whole new level of social anxiety that I’m still battling. So ya know, going with the bumps in the road.

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 Hollywood and/or the doc world more inclusive?

ME: This is a huge question and one that has a wide array of answers that go from more representation, creating more job opportunities, mentorship roles and [offering] better education on why this has taken place and how to fix it. I would also like to add that there are many POC working in the industry that understand this far better than myself and it’s important to listen to them on what their needs are and how to address them.

I know that for me, it was very important that we had a diverse cast and crew. A huge part of this film is trying to better understand different sides of humanity and that could only be done with a variety of world views in front and behind the camera. We were a small production, but we did all that we could to ensure that we were mindful of this in creating our team. I should add I received no pushback on this initiative from my executive producers and producers — all parties agreed that this was important for the film. When it came to casting, Engine Media Group was in full support of helping me find a diverse cast.

I think the most important thing for people wondering what action to take is to be mindful and purposeful — taking the time to think about how to make a difference and then acting on it.