Director Fabien Dao and producer Moustapha Sawadogo, the brains behind the project Princesse Téné, selected for the Nouveau Marché in Montreal (see the report), break down the origins of their film and what they hope to gain by attending the Canadian event.

Cineuropa: Could you tell us about the origin of the film?
Fabien Dao: Princesse Téné tells the story of a young girl from a community of horsemen, which she left when she was a child. The film explores how she reconnects with this heritage through the rituals of the family stable after her father’s death. Her first act is to use horses to transport drugs across Burkina Faso, as she doesn’t initially have any particular affection for them. However, this activity brings her back to her equestrian roots and rekindles a hidden love for horses. Gradually, she restores the family’s honour and reclaims the respected image of the horsemen.

Horses are very important in Burkina Faso. Could you tell us more about this?
Moustapha Sawadogo: The horse is a symbol of Burkina Faso. You see them everywhere, and they’re central to the founding myth of the Mossi people, the country’s majority ethnic group. The Étalon d’Or [lit. “Golden Stallion”] Award, given out at the FESPACO Film Festival, reflects the respect for horsemen, who were once a highly regarded caste. Unfortunately, this prestige has diminished, and today, the community is on the margins of society. This film aims to pay homage to them and bring them into the spotlight. They are of great importance to our country but remain absent from the screens.

When did you decide to join the project, and what motivated you as a producer?
MS: I already had some awareness of Fabien’s work. Though we hadn’t spoken directly, others told me about his intention to make this film. When we eventually connected, it felt quite natural. I’m fascinated by this type of cinema that tells the stories of ordinary people. Princesse Téné highlights street children rehabilitated through their love for horses. The film also touches on the security situation in Burkina Faso, with references to terrorist attacks and the drug trafficking that is, sadly, a reality. It aims to portray a modern Burkina Faso grounded in the dynamic urban landscape of Ouagadougou – a vibrant city, despite the current challenges. This rich narrative is what attracted me to the project.

FD: We’re currently in the project development phase. I’ve written the first draft of the treatment, and we participated in a workshop in Ivory Coast a month ago, where we received a grant for a Medienboard residency. I’ll be heading to Germany for three months to further develop the project.

What do you hope to gain from the Nouveau Marché?
MS: We have two main goals: first, to lend visibility to this project, which is still in its early stages; secondly, we’re exploring co-production possibilities, particularly with a country like Canada. There are Canadian-African co-production initiatives that aren’t yet widely known, and we’d like to explore these opportunities. We’re also open to potential partnerships with other countries present here, all to help us move forward with this project that’s so close to our hearts.