“Their bodies and strength mean everything to them”
Fanta, a 14-year-old contortionist, lives in Conakry, Guinea. She and her friend Makhissa are the only girls training with the circus. Just as Fanta is about to seize the opportunity to tour Europe, her mother falls ill. Her training intensity suffers, and she begins to question whether her dream really lies in circus life. In FANTASTIQUE, Belgian-Dutch documentary maker Marjolijn Prins follows the young performer as she searches for her own voice and tries to speak up about what truly matters to her.
In the opening scene, there’s wind, water, and people whispering… Fanta’s mother performs a spiritual ceremony to protect her daughter, washing her with herbal water. This sets the tone for FANTASTIQUE: one moment, we’re in the middle of circus pandemonium, bursting with colour, motion and sound; the next, we find ourselves in a quiet gathering. Throughout the film, high and low energy constantly alternate.
Marjolijn Prins: We noticed it during filming: it was either calm and serene, or very hectic; there was almost no in-between. Often, that calm was imposed by circumstances: the need to rest after a tough workout, or yet another power cut. We shaped the balance in the edit, moving from group dynamics to intimacy.
What exactly happened seven years ago?
Prins: That’s when I first met the acrobats of the Amoukanama circus association. Based in Matam, Guinea, they travel all over the world. Their energy felt truly inspiring. They told me about their lives back home, and I was fascinated by how these world-class performers grew up under difficult circumstances. When they invited me to Guinea, I jumped at the chance. After that, I kept going back, at least four times.
Was Fanta immediately the one in focus?
Prins: Not at all. We travelled to Guinea intending to make a film about the youngest member of the group. He was 14 at the time and about to go on his first European tour, and we wanted to follow that journey. But during one of the training sessions, this girl suddenly walked in, the very first girl to join the group. She looked so confident, pulling off these incredible tricks, and I was completely blown away. At that moment, I knew: Fanta is the one.
Circus seems like a national sport in Guinea.
Prins: The energy is everywhere, especially in Matam, the district of Conakry where these artists come from. In the past, this very physical discipline was mainly for boys; girls were expected to fulfill their household duties. But now, more and more girls are joining circuses and acrobatic groups.
Let’s be honest: There are some impressive physiques on display! Those guys look super fit and not shy about showing it.
Prins: From a young age, they train their fitness, day in, day out. Their bodies and strength mean everything to them; it’s what should secure their future, and what they’re most proud of.
What exactly attracted Fanta to the circus?
Prins: Her mother says she was doing acrobatics before she could even walk. She must have been born with very flexible joints. One day, a nephew introduced her to the group. They immediately noticed her talent and invited her to join. Her father was somewhat opposed to the idea; he didn’t want his daughter drawing so much attention by training with boys. But her mother fully trusted and supported her.
The film brims with female confidence, but the real strength, for me, lies with Fanta’s mother.
Prins: She has complete faith in her daughter and combines great wisdom with worldly knowledge. When she speaks, it’s like poetry. She gave the project her blessing; without it, the film would never have been made. Perhaps she saw in me an example of a woman charting her own course. Things got harder for her when she fell ill. We show Fanta’s mother in both moments of strength and vulnerability.
As for Fanta herself, I found it harder to grasp who she really is. She seems introverted, and her expression is often slightly skeptical.
Prins: Working with such an introverted main character is challenging. While reviewing the footage, we found very few scenes in which she speaks. But that’s also part of her strength; it gives her an almost mystical presence that drew me in. Not everything needs to be said; her actions speak for themselves, and her great dedication is proof of her ambition. If you were to meet Fanta in person, you’d likely have the same impression.
The contortionism acts can be hard to watch. Their bodies are so flexible that I’m constantly afraid they might hurt themselves.
Prins: During screenings, we often hear the audience literally groan – “ouch”. Especially when Makhissa cracks her neck. She can move her head like an owl! I’m deeply impressed by what the human body is capable of. The foundation of what they do is yoga. Fanta never skips a day doing her yoga exercises.
At a certain point, it seems like she’s losing interest.
Prins: Besides the pressure from school, I think the main reason is the physical pain. As a child, your body is flexible, but as you grow older, it becomes more demanding. The only answer she gets from the acrobats is: “You just have to push through.” I’ve never met a circus artist who didn’t deal with pain. It’s like Olympic gymnastics: the older you get, the tougher it becomes. Fanta and Makhissa would benefit from proper coaching. The men’s acrobatics rely heavily on force, while the girls might benefit from a softer type of training.
Circuses in Guinea come with live music!
Prins: Yeah, those drums… every filmmaker’s nightmare, as they make it impossible to capture any sound other than this pulsating beat.
What is typical of Conakry?
Prins: We mostly filmed in the Matam district, where we spent most of our time. At night, the streets fill with music and the smell of food. Conakry stimulates all your senses; from the intense heat to the smells, sounds, colours, and the way the light falls. For me, Conakry represents above all the warmth of a community where you can find peace when the hustle and bustle of the city becomes too much. With a bit of luck, you might witness the flying foxes returning to their night-time roosts against a magical sunset, whilst fishermen haul in their nets in the last light of day.
You include small glimpses of wildlife: close-ups of animals and nature. This must have been done with a purpose.
Prins: As a documentary, FANTASTIQUE holds a touch of magical realism. When we first arrived in Guinea, I sensed something spiritual in the air. Stories and myths feel very present; there is a deep respect for the supernatural, and every animal, even a butterfly or insect, is treated with respect. I wanted to weave those elements into a magical storyline in which nature plays an active role. These images highlight that unique connection.
Mami Wata is a part of that magical layer – the spiritual power of the sea?
Prins: Yes, and it’s very strong. There are many vivid stories about Mami Wata in Guinea. The sea is seen as a feminine, almost feminist force, and all the rituals in the film take place near the coast. It’s a strong, natural force from which fishermen bring in food. Wherever you go in the world, people find solace in the sea.
In that sense, you slightly push beyond the boundaries of traditional documentary.
Prins: But we didn’t push very hard, not as much as in the scenario phase. We had Fanta, Makhissa, Fanta’s mother, and then, on top of it, we suddenly had her grandmother joining in too! There were plenty of strong female presences. We didn’t feel the need for an additional female character in the form of the sea, so we focused instead on the poetic power of water. That magical layer brings a sense of tranquility to the film. Everyone is constantly telling Fanta what to do – in those magical moments, we give Fanta space to listen to herself and speak up about what she wants.
Why would FANTASTIQUE qualify as a children’s documentary?
Prins: It was conceived that way from the start. In fact, the film, which was initially planned as a short documentary, grew alongside Fanta. Children get swept up in the film’s rhythm, which is very much alive and kicking. And I hope that touch of magical realism helps them connect more deeply with the story. I noticed that many stories about West Africa don’t reflect reality—I hope FANTASTIQUE can challenge those stereotypes. Fanta and her group are incredibly proud of the film, which was always our main ambition.
You took the script to the Young Horizons script lab. Did that help shape the structure?
Prins: A lot! Discussing the script with people from across Europe is incredibly valuable; it pushes you to work hard, time and time again, to fix flaws, foster a better understanding, and bring the audience closer to the story. At first, I was a bit sceptical: how to write a scenario for a documentary when you don’t know what will happen? But it helps you define the core strength of the project. The foundation of the film was in that scenario, even if reality led us to make some minor changes.
In the end, the circle closes, and we are treated to a circus performance. It felt like a gift to the audience: the cinema vibrates with an explosion of sound and motion.
Prins: Even after seeing the film probably 200 times, I still get goosebumps at that moment. My editor and I really struggled to find the right ending until we realised we needed to go out with that burst of energy. We also owed it to the group to show how their hard work paid off. Young people hate open endings, so this was the only right way to do it.