Violet Feng

Chinese, Asian

Fish+Bear Pictures LLC

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Violet Du Feng is an independent documentarian. Her producing credits include SINGING IN THE WILDERNESS (post production), CONFUCIAN DREAM(https://www.facebook.com/confuciandream)(Karlovy Vary Special Jury Award, Chinese Documentary Academy Award), MAINELAND (Jury Winners of SXSW and IFF Boston, NYTimes Critic's Pick), and PLEASE REMEMBER ME (IDFA premiere, GZDoc Best Documentary, Chinese Academy Documentary Award nomination, Doc Impact Hi5). Her films have screened at over 120 international festivals and institutions, with US and Chinese theatrical releases, public broadcasts and digitally released globally on multiple platforms. Feng started her career as a co-producer on the critically acclaimed 2007 Sundance Special Jury winner, Peabody and Emmy winner NANKING, which was distributed theatrically around 30 countries throughout the world, and was the highest grossing documentary in China. Violet is the director and producer of the CPB funded PBS special program Harbor from the Holocaust, to be aired nationally on Sept 8th, 2020. She is the producer of the forthcoming film PEOPLE’S HOSPITAL and the director of her first feature length documentary HIDDEN LETTERS

Born in Shanghai and based in New York. Violet holds a bachelor’s degree journalism and received her MFA in journalism from University of California at Berkeley. Feng is a Sundance Creative Producing Fellow. Her work has received support from funders such as Sundance, ITVS, IDA, Ford Foundation, Chicken & Egg and Doc Society. Feng is a trainer for CNEX, the Chinese Documentary Foundation, and a consulting programmer for Shanghai International Film Festival.

Active Projects

Hidden Letters is a feature length documentary I am directing, supported by Doc Society, IDA, Chicken and Egg and ITVS. Hidden Letters is a film about Two young Chinese Millennials in rural and metropolitan China look toward the wisdom of an ancient secret woman-only language -- Nushu to navigate their lives in a world still dominated by men. As Nushu itself is under the threat of being commodified, can these two last gatekeepers carry its spirit that resists the oppression of patriarchy, the burden of cultural expectations, and the shame of speaking up in a world that may not listen?

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