Selma Vilhunen is a director and screenwriter of both fiction and documentary films. She is also one of the co-founders of the production company Tuffi Films. Her fiction feature debut, “Little Wing,” premiered at the Toronto International Film Festival in 2016 and won the Golden Camera Taodue Award for best first or second feature at the Rome Film Fest. Her other credits include the Oscar-nominated short film “Do I Have to Take Care of Everything?” and the feature docs “Song” and “Pony Girls.”
“Hobbyhorse Revolution” will premiere at the 2017 Hot Docs Canadian International Documentary Festival on May 3.
W&H: Describe the film for us in your own words.
SV: “Hobbyhorse Revolution” is a funny and moving documentary film about the power of imagination and the strength of a community. The film follows Aisku, Elsa, and Alisa, three girls whose lives have been transformed by their new interest: hobbyhorses. Despite a lack of understanding by some, the girls bravely and spiritedly pursue their hobby.
W&H: What drew you to this story?
SV: When I first encountered the subculture in the fall of 2012 I was immediately blown away by the free-spirited attitude which these young people had. The fact that they still — at the age of 15 and up — know how to use their imagination and are not afraid to do so is a beautiful and inspiring thing.
W&H: What do you want people to think about when they are leaving the theater?
SV: I hope that people can see the world from a slightly broader perspective than when they entered the theater. I hope that they will feel encouraged to ask and inquire before judging. And I certainly hope that they will find their own inner hobbyhorse and the ability to play.
W&H: What was the biggest challenge in making the film?
SV: When the protagonists were going through some rough times in their lives I sometimes had to keep a break in filming. I didn’t want to film a minor in their most intimate and difficult moments, but of course I was also stressed about how the film [would be affected]. I think that the protagonists and I together eventually found a way to tell their story in a way that does not exploit them but still remains true to their experience.
W&H: How did you get your film funded? Share some insights into how you got the film made.
SV: The film is a co-production between Tuffi Films in Finland and Bautafilm AB in Sweden as a minority co-producer. The financiers are The Finnish Film Foundation, The National Broadcasting Company in Finland YLE, The Promotion Centre for Audiovisual Culture AVEK, Swedish Television, The Swedish Film Institute, FilmPool Nord, Film i Västerbotten, and The Nordic Film and TV Fund.
The financing started in Finland in a rather traditional way in the Finnish documentary film world: The Finnish Film Foundation granted us scriptwriting money at an early stage and was with us from the very beginning.
W&H: What does it mean for you to have your film play at Hot Docs?
SV: This is the first time I have a film at Hot Docs, and I am definitely very honored and excited about the opportunity to show the film to Canadian audiences. Last September my feature film “Little Wing” screened at the Toronto International Film Festival and I saw how wonderful Toronto filmgoers are, so I’m expecting to have engaging and inspiring conversations.
I am especially thrilled about the fact that we are able to take the three protagonists — and their hobbyhorses — with us to Toronto.
W&H: What’s the best and worst advice you’ve received?
SV: The worst advice: Someone told me I’m wasn’t the type of a person who could be a film director — that I was somehow too shy or too sensitive. I am so glad that I never believed him.
The best advice: “A director does not always have to be able to explain why she wants something done in a certain way. It’s enough to simply want it — that’s the director’s job, to trust their instinct even when there are no words to explain it.”
W&H: What advice do you have for other female directors?
SV: Support other female filmmakers. Hire women. Demand respect. Surround yourself with people who know how to respect other people. Remember that your stories about girls and women are stories about people: your characters do not portray only their gender, but humanity.
W&H: Name your favorite woman-directed film and why.
SV: I am a great fan of Andrea Arnold. Her film “Fish Tank” is one of my favorite films ever made. It is so full of life and energy and also a certain kind of mystery, which makes it stand the test of time. I admire Arnold’s uncompromising attitude in her filmmaking.
W&H: There have been significant conversations over the last couple of years about increasing the amount of opportunities for women directors yet the numbers have not increased. Are you optimistic about the possibilities for change? Share any thoughts you might have on this topic.
SV: While I am frustrated and disappointed at the slowness of change, I am also someone who believes in the power of [setting a] positive example and taking things into one’s own hands. I think that the best way to change the industry is to create it anew, in a more diverse direction. In the U.S. people such as Lena Dunham, Reese Witherspoon, and Geena Davis are important examples of taking charge and making change.
