“To Kill a Mongolian Horse,” interview with Director Xiaoxuan Jiang

Exploring identity and performance in “To Kill a Mongolian Horse”

In a candid conversation, Xiaoxuan Jiang, the director of “To Kill a Mongolian Horse”, in Giornate degli Autori section, shares her deep personal connection to the film’s protagonist, Saina—a Mongolian herdsman who navigates a dual life between ranch work and performing as a horseback rider. The film, inspired by true events and the experiences of Jiang‘s friend Saina, delves into the stark contrasts between the glamor of performance and the realities of ranch life.

The inspiration behind Saina’s story

“Saina’s story captivated me,” Jiang reveals, referring to her friend who turned to horseback performances to supplement his income. She recalls attending a horse fair, where she was struck by the hyper-masculine atmosphere, laden with traditional notions of Mongolian masculinity. “These performers were subjected to a fetishized gaze, celebrating both their masculinity and ethnic identity,” Jiang notes. This observation became the foundation for a narrative exploring these complex dynamics.

The duality of performance and reality

Saina, who portrays himself in the film, constantly shifts between his role as a performer and the hardships of his daily life. “As the story progresses, Saina finds it increasingly difficult to reconcile the contrast between his roles and his reality,” Jiang shares. This tension serves as a powerful reflection on the challenges faced by individuals caught between two worlds.

A personal connection to the creative process

When asked about her creative process, Jiang emphasizes her focus on Saina‘s emotional journey, rather than relying solely on the spectacle of the performances. “I was at a crossroads in my filmmaking career when I began writing this film,” she explains. Inspired by her struggles with authenticity versus performance, Jiang underscores how this dichotomy is central to Saina‘s journey, mirroring her own experiences.

Exploring the transformation of performers

Jiang‘s fascination with the behind-the-scenes dynamics of these performances also shaped the film. “I observed how performers would dress and apply makeup to transform into heroic figures. It’s not something that comes naturally—it requires time and preparation,” she says, highlighting the film’s exploration of identity and the layers people assume to present themselves to the world.

Challenges and rewards of an international co-production

“To Kill a Mongolian Horse” is an international co-production involving Malaysia, the U.S., Hong Kong, Korea, and Japan. Jiang acknowledges the support and challenges faced during production. “Finding the right partner was challenging, but Pluto Film‘s adventurous spirit perfectly aligned with our goals,” she remarks. Working with a tight budget, Jiang saw it as an opportunity for creativity. “If a dream sequence required a blizzard, we had to wait for a real one,” she laughs, illustrating the practical hurdles faced by the crew. Despite these challenges, Jiang remains committed to working with smaller budgets for future projects, valuing the creative flexibility it provides.

Universal themes and international recognition

Daniela Cölle, Managing Director and Head of Acquisitions at Pluto Film, praises Jiang‘s debut, recognizing its universal themes. “While set in a specific local context, the story resonates with anyone confronting changing socioeconomic realities,” she notes. Together, they stress the importance of bringing this powerful film to international a