Nila Kartika Wati
In a significant move for international independent cinema, Paris-based sales powerhouse WTFilms has acquired the worldwide rights to King’s Daughters, the latest ambitious project from acclaimed Canadian filmmaker Pascal Plante. Blending the visceral intensity of a historical survival drama with the atmospheric dread of folk horror, the film promises to be a standout entry in the period-piece genre.
The film boasts an impressive ensemble cast led by the legendary French actress Sandrine Bonnaire, alongside Laurie Babin, Lauréna Thellier, Zoé Adjani, and the rising newcomer Marguerite Champoux. As production moves between two continents, the project has already generated considerable buzz for its unflinching look at one of the most perilous chapters in the colonial history of North America.
A Visionary’s Shift: From Cyber-Thrillers to Historical Epics
Pascal Plante has established himself as one of Canada’s most versatile and provocative directors. His filmography reflects a filmmaker who is constantly challenging himself and his audience, having traversed the worlds of punk-infused romance in Fake Tattoos, the grueling physical and emotional toll of professional sports in Nadia, Butterfly, and the unsettling, hyper-modern digital voyeurism of the recent critical darling Red Rooms.
King’s Daughters represents a departure in setting, yet it maintains the thematic core of Plante’s work: the isolation of the individual within a hostile, often indifferent environment. By moving from the screen-lit shadows of cyber-crime to the salt-sprayed, decaying hull of a 17th-century ship, Plante is leaning into a "genre-bending" approach that promises to elevate the historical drama into the realm of the visceral.
The Chronology of a Cursed Voyage
The film is set against the backdrop of 1663, a pivotal year for the French colony of New-France—the territory that would eventually evolve into modern-day Quebec. King Louis XIV, desperate to stabilize his faltering overseas venture, commissioned the transport of orphan "virgins" to the colony to be wed to the existing settlers.
Plante’s narrative focuses on the harrowing reality of this mandate. The film follows the transatlantic crossing of these women, a voyage that lasted a grueling 111 days. The historical reality of these crossings was far from the romanticized visions often found in textbooks. The women, including the film’s youngest protagonist, the 13-year-old Catherine Moitié, were subjected to an environment defined by:
- Systemic Neglect: A lack of basic sanitation and resources.
- Biological Peril: Outbreaks of disease, exacerbated by the cramped, unsanitary conditions.
- Psychological Decay: The constant presence of a superstitious and hardened crew, combined with the crushing apathy of those in charge.
- The Horror of Survival: A relentless struggle against famine, vermin, and the encroaching realization that they were being treated as little more than cargo.
Principal photography for this mammoth production commenced in March 2024 in Montreal, utilizing the city’s robust production infrastructure to recreate the period’s atmosphere. The production is scheduled to resume in June in the historic port city of St-Malo, France, the very site where many of these historic vessels originally departed. The film is currently slated for a global release in 2027.
Production Prowess and Collaborative Synergy
King’s Daughters is the product of an international co-production effort that highlights the synergy between Canadian and French cinema. The film is co-written and produced by Dominique Dussault of Nemesis Films, marking her sixth collaboration with Plante. Their creative partnership, which proved successful with Red Rooms, serves as the bedrock of this project’s narrative structure.
Joining them are Stephanie Morissette from La Maison de Prod (known for Ravenous) and Caroline Bonmarchand from Avenue B (producers of The Origin of Evil). The involvement of these established houses underscores the scale of the film, which requires the logistical complexity of shooting across two continents to capture the authentic, dual nature of the colonial journey.
Official Responses: A Shared Commitment to History
The reaction from the production team and the distributor has been one of enthusiasm for the project’s unique tone. Pascal Plante expressed his gratitude for the partnership with WTFilms, noting that the "strange beast" of a film required partners who weren’t afraid of its dark, unconventional edges.
"While in the middle of filming this strange beast, it is a comfort to know that solid partners like WTFilms are already believing in us in such a way," Plante stated. "What a joy to be part of their genre-bending, eclectic, and oh-so-badass catalog!"
For the production team, the film is more than just a historical drama; it is a reclamation of a narrative that has often been sanitized. In a joint statement, producers Dominique Dussault, Stephanie Morissette, and Caroline Bonmarchand emphasized the thematic weight of the project:
"As three women producers, we are proud to be part of the current wave of change that is bringing greater attention to women’s contributions to history. King’s Daughters’ themes of female solidarity within a story of survival, oppression, and resilience will resonate deeply with contemporary audiences. This epic tale offers viewers a glimpse into the origins of what we now call sisterhood."
Implications for the Industry and Audiences
The acquisition by WTFilms, coupled with pre-sales to Tandem in France and Entract in Canada, indicates a strong market appetite for "prestige horror" and elevated historical dramas. The film’s focus on the "King’s Daughters" (or Les Filles du Roi, as they are historically known) is particularly timely.
In recent years, the film industry has seen a massive shift toward uncovering the "hidden figures" of history. By framing this specific event—a cornerstone of Quebecois genealogy—through the lens of folk horror and psychological survival, Plante is effectively subverting the traditional heritage-film genre. He is stripping away the gilded aesthetics often associated with the 17th century to expose the rot and the resilience underneath.
Furthermore, the focus on female solidarity as a survival mechanism provides a modern resonance. While the characters are trapped in the constraints of a patriarchal colonial structure, their internal world is defined by the bond they forge in the face of death. This, according to the producers, is the heart of the film: the birth of a community forged in the crucible of the Atlantic.
As production enters its final stages, the anticipation for King’s Daughters continues to grow. With a director known for technical precision, an ensemble cast of high caliber, and a production team committed to a nuanced retelling of history, the film is positioned to be one of the most significant Canadian-French co-productions of the decade. By the time it hits screens in 2027, it is likely to serve as both a harrowing cinematic experience and a profound meditation on the resilience of the human spirit in the face of institutional erasure.
Dwi Wanna
Nana
