NYWIFT Blog

By Tammy Reese

As the 25th anniversary of the Tribeca Festival shines a spotlight on bold storytelling and groundbreaking filmmakers, Violet Du Feng is arriving with not one, but two standout projects that are already generating conversation. The Emmy® Award-winning filmmaker and NYWIFT member serves as producer on TikTok Never Dies, featured in the festival’s Spotlight Documentary category, while Only the Lonely has been selected for the prestigious New York Times Op-Docs Showcase.

For Violet, whose work consistently explores the intersection of personal identity and larger societal shifts, the moment represents both creative growth and artistic alignment. Known for acclaimed projects including The Dating Game and the Oscar®-shortlisted Hidden Letters, Violet has built a reputation for crafting emotionally layered documentaries that connect intimate human experiences to broader cultural conversations.

This year’s Tribeca selections further highlight her ability to move between producing and directing while continuing to champion stories that challenge audiences to think deeper about technology, relationships, community, and the evolving world around us. From examining the human impact of social media and political tension in TikTok Never Dies to exploring loneliness and connection in Only the Lonely, Violet’s work reflects a filmmaker committed to meaningful storytelling that resonates far beyond the screen.

(Courtesy of Violet DuFeng)

What does having two projects included in this year’s festival mean to you personally and professionally?

Personally, it feels surreal because these two projects seem as different as they could possibly be on the surface, yet they are connected by the same question that deeply interests me as a filmmaker: what happens when larger systems begin shaping our most personal lives?

TikTok Never Dies looks at people caught at the intersection of technology and politics, where global debates around social media, free speech, and national security suddenly become deeply personal. Only the Lonely, on the other hand, explores loneliness, relationships, and social expectations — examining how broader cultural and social structures can shape something as intimate as our search for connection. To have both recognized at the same festival feels especially meaningful because it reminds me that stories can operate at very different scales while ultimately asking the same human questions.

Professionally, it’s also exciting because it reflects the different hats I wear as a filmmaker — producing and directing. It also reminds me that filmmaking, especially in the independent world, is such a collective effort. We’re all part of an ecosystem where we rely on others to lift us up, and where we also have a responsibility to support and create opportunities for others in return.

Still from TikTok Never Dies (courtesy of Tribeca)

TikTok Never Dies explores timely conversations surrounding social media, influence, and freedom of speech. What initially drew you to this story, and why did you feel it was important to tell now?

What drew me in wasn’t TikTok as a platform itself — it was the people. We’re living through a moment where social media isn’t just entertainment anymore; for many people, it’s identity, community, and livelihood.

When the possibility of a ban emerged, I became interested in what happens when geopolitical tensions suddenly become intensely personal. For many creators, this wasn’t an abstract policy debate. It affected careers, relationships, and how people imagined their futures.

I felt the story was important because we’re entering a period where societies are trying to answer difficult questions around technology, speech, security, and who gets to shape the digital public square. The film captures that moment through human experiences rather than through headlines.

I also deeply appreciated Director Hao Wu’s commitment to approaching the issue with nuance. In a time when public discourse can feel increasingly polarized, it takes courage to make a film that resists easy binaries and instead creates space for complexity. By giving thoughtful consideration to perspectives both supporting and opposing a TikTok ban, the film encourages audiences to move beyond immediate reactions and consider why people arrive at different conclusions. Ultimately, it invites a deeper conversation about the tensions between free speech, national security, and the future of our digital public sphere.

Still from TikTok Never Dies (courtesy of Tribeca)

As an Emmy Award-winning producer and filmmaker, what qualities or skills do you believe are essential to becoming a successful producer in today’s film industry?

I think being a successful producer today goes beyond simply making a great film. Of course, storytelling fundamentals still matter, but increasingly, a producer’s role is about identifying important stories that audiences need to engage with and then figuring out how those stories can find their audience in a rapidly changing landscape.

We’re in a moment where many meaningful independent stories struggle to find homes, while the market is often driven toward more commercially proven formats. But I also believe audiences still want stories that help them understand the world we’re living in — stories that challenge us, expand our perspectives, and capture the complexities of our time. The question becomes: how do we position these stories so they can meet audiences where they are, rather than expecting audiences to come to us?

That requires producers to think beyond traditional filmmaking skills. It requires understanding the market, anticipating shifts in audience behavior, finding new ways to create visibility, and building creative paths for these films to break through. I think producers today increasingly have to think like entrepreneurs — not only making films, but also finding innovative ways for those films to connect with the world.

Still from TikTok Never Dies (courtesy of Tribeca)

What inspired you to become involved with NYWIFT, and why do organizations like this matter for women working in film and media?

One of the things I’ve learned is that filmmaking can feel surprisingly isolating, even though it’s collaborative by nature. Organizations like NYWIFT create spaces where people can share experiences, mentor one another, and open doors that might otherwise stay closed.

I was drawn to NYWIFT because it’s not only about celebrating women’s work — it’s also about building a real professional community.

Representation isn’t just about who appears on screen; it’s also about who gets opportunities behind the camera and who has access to networks and resources.

Still from Only the Lonely (courtesy of Tribeca)

Many aspiring filmmakers dream of attending or screening at Tribeca one day. What advice would you give to first-time filmmakers navigating the festival experience?

My biggest advice would be: don’t just promote your film — build your community. I think it’s easy, especially for first-time filmmakers, to arrive at a festival with a checklist of goals: I need to find funders, meet buyers, get representation, or secure the next project. Those things can absolutely happen, but if you become too focused on specific outcomes, the pressure and anxiety can prevent you from fully experiencing what festivals are really about.

We all got into filmmaking because we love movies and because we love being around people who make them. Festivals like Tribeca bring together an incredible community of artists, storytellers, and audiences. Watch as many films as you can. Talk to people. Be genuinely curious. Some of the most meaningful opportunities often come from unexpected conversations — standing in line for coffee, after a screening, or meeting someone whose work simply inspires you.

I think the relationships you build often end up lasting much longer than any single deal or meeting. The film may bring you there, but the community is what stays with you.

With so many exciting accomplishments already this year, what else can audiences and supporters look forward to from you next?

I’m continuing to develop stories that sit at the intersection of personal experience and larger social questions. I’m interested in stories that feel intimate but also speak to broader cultural shifts.

Follow Violet Du Feng on her social channels at @violetfengdoc.

See TikTok Never Dies and Only the Lonely at the 2026 Tribeca Festival, running June 3-14. 

And check out all the other NYWIFT member projects at the 2026 Tribeca Festival.