Horn Maker
Horn Maker official film poster
Santiago Wild Nominee · 2026
A documentary by Juliette Marquis

Ten years. Four continents.One radical idea.

Diving into the labyrinth of rhino horn trafficking, a filmmaker embarks on a decade-long journey to discover that tangled within the web of bureaucracy and ideology is a groundbreaking biotechnology with the potential to transform wildlife conservation.

Runtime
84 min
Year
2026
Origin
USA
Spain
Italy
Ireland
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From the film. Photograph by Juliette Marquis.
From the filmphotograph by Juliette Marquis
i. The Film

A decade inside the third largest illegal trade on earth

Wildlife trafficking is the third largest illegal trade in the world, with rhino horns being a commodity more valuable than gold and cocaine combined. Decades and many millions have been spent to stem the flow of poaching, but still, wild rhino populations teeter on the brink of extinction.

Now, with the advent of biotechnology and DNA printing, a new idea is born. Matthew Markus, an innovator from the tech world, proposes a daring plan: use 3D printing technology to create bio-identical rhino horns to sabotage, saturate, and collapse the illegal trade by exploiting its inherent greed from within.

For nearly a decade, we followed Markus across Africa and Southeast Asia as he navigated the complexities of conservation efforts, exposing the striking contrasts in worldviews, from the deeply rooted cultural traditions and trafficking networks to the cutting-edge realm of high-tech innovations, pushing the boundaries of what it takes to preserve wildlife in the 21st century.

Juliette Marquis on safari.
Juliette Marquis · Pembe Nkwe, Mozambique
ii. Director's Note

The illegal wildlife trade was not a crime with a culprit.

I have always felt bound to the natural world in a way that borders on spiritual, and to animals most of all. Being among them, surrounded by wild places, is medicine like nothing else. I had been keenly aware of how easily an ecosystem can come apart. What I had never really considered was the places where humans and wildlife actually meet out in the wild, and everything that meeting entails. That changed in the mid-2010s, when the poaching of elephants and rhinos was at its worst. They were being killed faster than they could be born, which meant that they were on a clear path to disappearing entirely from the wild. The majesty of elephants, in particular, has always undone me. It had never occurred to me that their presence on our planet wasn't a given. Science journals and newspapers reported the whole slow catastrophe, but we live buried in alarming, urgent news, and for most people I knew, this was one more thing to worry about and move past. I couldn't move past it. This particular problem struck me as emblematic of everything our own species stood for. What is wrong with us? Are we so careless that we can't see what we're doing to the only home we have? And who is actually trying to make it better? Those were the people I wanted to find. And find them I did.

I started with law enforcement. I wanted to understand how the supply chain actually worked, how the "product" moved from the source through the ports and the transit countries, where it was processed, and whose hands it finally landed in. I interviewed dozens of military officers who trained rangers across Africa, men who protected the reserves at real risk to their lives. I completed a war correspondent training program so I'd have some idea what to do if the violence found me. I was sure I knew who the villains were, and I wanted to hear it from them directly.

So with a local guide, I traveled across South Africa, Mozambique, and Tanzania, staying in rural villages for weeks at a time. I slept in huts beside the families of admitted poachers. I sat with chiefs and tribesmen and asked them to tell me how they saw the world, where the power was in theirs, what they wanted for their children. Back in the cities, I sat with farmers, conservationists, and the officials charged with stopping the very trade I'd come to understand. Many hundreds of conversations in all.

The more people I listened to, the less certain I became. The illegal wildlife trade was not a crime with a culprit. It was a web, tangled through poverty, history, and policy, and I could not see how anyone would ever pull it apart.

Then I heard about a scientist back in America with an idea so audacious it almost sounded made up. Using synthetic biology, he believed he could flood the black market with bioidentical horn, copies no rhino had to die for, and erase the animal from the trade entirely. Think about what that means. If the whole market runs on scarcity, then fooling it with perfect copies breaks the supply chain at its root. Had we been thinking about these criminal networks all wrong? Was he a genius? A fraud? A visionary about to change the world? Once the idea was in front of me, I couldn't see anything more important to understand. I reached out, and after some convincing, we went on the road together. He worked on the science and tried to bring the stakeholders along; I followed with two cameras and questioned every move he made. The story carried me into the U.N. assembly halls where the policy is written, across from ministers and the heads of conservation groups.

What I came to understand is that the hardest thing to put on screen is that there is no villain to point to. The harm is not in the intent of the people doing this work. It is in the shape of the system itself. A single answer, applied everywhere, is doing some of the gravest damage to the ecosystems and the people it claims to protect. Every region carries its own history, its own needs, its own relationship to the land. Conservation has to meet them there. It cannot ask them to come to it.

This film changed me. How I see the world, how I see the systems running underneath it, and what I now believe it takes to move them. The road is longer and harder than I imagined when I started. But every part of it begins the same way. With seeing clearly.

Juliette Marquis
Director · Producer · Writer
iv. Bonus Footage

From the cutting room

There is a mountain of footage that didn't make it into the film's final cut. We will keep adding to this archive so that some other gems can join Horn Maker on its journey.

v. Dossier

The record

Press, research, and dispatches from the making of the film.

The Record →
Horn Maker official Nominee at Santiago Wild 2026.
April 15, 2026Festivals & Screening

Horn Maker Nominated at Santiago Wild 2026

The film joins the official selection at Chile's premier wildlife film festival, opening a year of festival appearances.

May 9, 2015Press

New Scientist: 3D Printed Horns May Put Rhinos at Greater Risk of Extinction

Days after Pembient's prototype announcement, New Scientist became the first major science outlet to frame synthetic rhino horn as a threat, not a breakthrough. The piece introduced TRAFFIC's Crawford Allan and Save Vietnam's Wildlife founder Nguyen Van Thai, who became the template voices of institutional opposition.

September 18, 2020Research

THE PAPER TRAIL

A formal U.S. government memo from September 2020 suspended conservation grants after finding taxpayer funds had been linked to murder, rape, and torture of indigenous people. WWF, the sector's dominant player, received $333 million over 15 years and was repeatedly cited in the findings.

End Titles
Directed & Produced by
Juliette Marquis
Written by
Juliette Marquis · Marco Gianstefani
Edited by
Marco Gianstefani
Directors of Photography
Alexander Oleynikov · Juliette Marquis · Loren Wheeler
Produced by
Juliette Marquis · James Keach
Andrew Troy · Elisa Bonora
Executive Producers
Marco Chiappa · Alessandro Casati · Francesca Cimolai
Ann Mugglebee · Camille Hardman · Jason Holdsworth
Oreet Rees · Mark Cancelliere
a GroundStorm Media production
in association with
PCH Films · Troy Entertainment
Bloom Media House
Redwolf Films · Voluntas Ventures
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