Mali Elfman is a Writer, Director and a BAFTA nominated Producer, who began her career with her micro-budget feature film DO NOT DISTURB.
Since then she’s produced many films including Karen Gillan’s directorial debut THE PARTY’S JUST BEGINNING, Mike Flanagan’s BEFORE I WAKE, THE ASHRAM starring Melissa Leo and many more. Today, Elfman works primarily with female horror filmmakers, creating a safe environment to bring monsters and mayhem to life.
Elfman is one of the Co-Founders of Fun Size Horror. The company has distributed over 300 horror shorts through various partners including Alamo Drafthouse theaters, Amazon, Hulu, Alter, Vimeo, and film festivals worldwide including Fantastic Fest, Tribeca, Sitges, Palm Springs International and many more.
She has also taken her love of the genre and written and directed four short horror films herself; VOICE, LOOP, DO YOU BELIEVE IN GHOSTS, and LOCKER ROOM Z which have all been released in various anthology's. Most recently, she completed her directorial feature film debut NEXT EXIT which premiered in 2022.
She has also produced several live events and is a member of the Immersive Company AOTW (“All Of Them, Witches!”). She began in this field by producing Mark Danielewski’s “The Fifty Year Sword” at the Disney Concert Hall’s REDCAT theater. She then created three iterations of an Immersive Horror Experience for Overlook Film Festival, "The Mobius Strip" for Alamo Drafthouse and most recently the Virtual Immersive Experience ARCANAamidst the Covid pandemic.
A few years ago she teamed up with director Laura Moss. Together they created the award winning pilot NEUROTICA and have also been selected for the Tribeca and Chanel’s 2019 "Through Her Lens" and the Cannes Film Festival’s “Breaking Through the Lens”. She and Moss, will begin production on their project BIRTH/REBIRTH in 2022.
Next up for Elfman, are numerous horror projects. Gillan and Elfman will be partnering up again for the elevated horror project AXE WOUND. AOTW will be making a new Immersive Experience with ARCANA: Chapter 2