AT the heart of Jiang Xiaoxuan's debut feature, To Kill A Mongolian Horse, lies a profound narrative that mirrors her own life and the shifting landscape of contemporary Inner Mongolia.
As the film unfolds, it tells the story of a Mongolian horseman grappling with the encroaching influences of the modern world, all while revealing the intricate layers of Jiang's upbringing and identity.
"I started to change from thinking about stories that were totally inward-looking to stories that were both inward and outward at the same time," begins Jiang, before elaborating: "On the surface, the film seems to be about someone else, but actually, it deeply resonates with my own experiences."
Jiang was present for the Asian premiere of her film at the 29th Busan International Film Festival (BIFF), held from October 2 to 11. This event serves as a crucial platform for emerging Asian talents, offering them the chance to connect with global audiences and industry professionals.
Amidst the buzz of the festival, Jiang found herself engaged in numerous conversations about her film, which made its world premiere at the Venice Film Festival's Venice Days section just weeks earlier.
Her presence in Busan came on the heels of an extraordinary recognition — Jiang was awarded the prestigious Authors under 40 Award for Best Directing and Screenwriting at Venice.
"In Venice, so many films compete for limited awards, and to be recognised among such talent is incredibly special," she shares, her pride evident. Continuing, Jing adds: "I feel super proud of myself because there are few opportunities for Chinese filmmakers, particularly those from ethnic minorities or less-visible regions like Inner Mongolia."
FINDING HER CALLING
Jiang grew up in the northern mining centre of Baotou, Inner Mongolia. Her father was a horse breeder while and her mother hailed from a long line of singers. She was captured, early, by the cinematic worlds created in the likes of the Narnia and Harry Potter franchises.
"I was attracted to pure fantasy," she recalls, but dabbled in the art, and an art degree at New York University (NYU), before the possibility of becoming a filmmaker really took root and she made the switch to NYU's Tisch School of the Arts.
Yet, it was only after completing her studies that Jiang truly embraced her identity as a filmmaker. "While in film school, I felt like I was floating in a void," she admits, adding: "I was absorbing techniques and craft, but nothing clicked until I returned home and started working on my own projects."
LASTING IMPACT
Returning to her roots, Jiang chose to make her first film a reflection of her own upbringing, particularly the horses integral to Inner Mongolian culture. To Kill A Mongolian Horse juxtaposes breathtaking scenes of local horsemen performing for tourists — often reenacting epic battles — against the stark realities of their lives, where they long for their herds and the simplicity of a bygone era.
The film's protagonist is portrayed by Saina, an untrained actor whose life story mirrors the character he embodies. During filming, Saina suffered a fall from his horse early on, casting uncertainty on his involvement. Surprisingly, this incident became a defining moment, enriching the film's emotional landscape.
"All the challenges we faced ultimately contributed to the atmosphere I wanted to create," Jiang reflects, adding: "The difficulties shaped something that resonated authentically."
BELIEF AND PERSEVERANCE
The story of how Jiang found ways to get her film made also reveals much about how the modern Asian film industry works. To Kill A Mongolian Horse was brought to life thanks to financial support from Malaysia's Da Huang Pictures.
The director also took her project to pre-production initiatives in both Hong Kong (the Hong Kong — Asia Film Financing Forum) and Busan, South Korea (the Asian Cinema Fund and the Asian Project Market) as she sought the funds — and the advice — needed to get it up on the big screen.
When she was fine-tuning her script, Jiang also turned to Malaysia's own Tan Chui Mui — the force behind such acclaimed movies such as the martial arts mash-up Barbarian Invasion (2021). So impressed was Tan that she came on board as executive producer.
"She's the kind of mentor who doesn't force you to take her feedback. The kind that guides you while you find your own way," shares Jiang, adding: "I think that style really suits me because I don't find it super helpful when people are just forcing a response to their feedback. Also, her [online script] workshop was every morning at 8am for 20 straight days and that taught me to be disciplined, which I think is so important for a writer."
Throughout this demanding process, Jiang encountered numerous lessons that she hopes to share with aspiring filmmakers in Asia.
"I learned quickly that making a film is super, super hard," she points out, adding: "So, you have to find a reason to wake up the next morning, to be on set, face all the troubles and the ugly things that are going to happen. And for me, that reason was being able to show the story of my friend [Saina], to preserve that moment and hope that it might change our lives for the better."
As she pauses momentarily to reflect on her journey, Jiang eventually continues by pointing out the importance of connection, saying in conclusion: "You have to find that maybe it is not about yourself, but it is also about the people around you. That's going to be the driving force."
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