Kyrgyzstan Life & Culture - The Times Of Central Asia

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Film Festival

How Kyrgyzstan Used the SCO Film Festival to Raise Its International Profile

Kyrgyzstan hosted the first International Film Festival of the Shanghai Cooperation Organization (SCO) member states from July 16 to 19, marking the country’s largest international cinema event to date. Held at the Rukh Ordo cultural center in Cholpon-Ata to coincide with the SCO’s 25th anniversary, the festival brought together delegations from Kyrgyzstan, China, Russia, Kazakhstan, Uzbekistan, Tajikistan, Iran, and Belarus. Each country presented one feature film, while an international jury chaired by Kyrgyz writer and director Ernest Abdyzhaparov selected the winners. The Grand Prix went to the Kyrgyz film Kara Kyzyl Sary (“Black, Red, Yellow”), giving the host nation a symbolic victory at the festival’s inaugural edition. Other awards went to Russia’s Angels of Ladoga for cinematography, Kazakhstan’s Autumn Breeze for screenplay, and Chinese director Lan Hongchun for Dear You. Acting honors were shared by performers from the Tajik-Iranian co-production Fish on the Hook and the Iranian film The Player. The festival also functioned as a forum for the region’s film industry. Discussions covered co-production and financing, along with the possibility of creating a common SCO film market. A proposal to establish a dedicated co-production fund drew particular attention. Such a fund could support joint productions rather than limiting cooperation to cultural exchanges. Participants also discussed training for young filmmakers and closer ties between film schools. Joint workshops were another area of interest. For Kyrgyz cinema, access to larger production markets could open new sources of financing and support the transfer of technical expertise. It could also help domestic films reach international audiences. Iranian jury member Ruhollah Hosseini expressed hope for peace in his country before presenting an award, giving the ceremony a more personal note. Hosting the festival was also significant for Kyrgyzstan. As the country chairs the SCO, Issyk-Kul has become one of the organization’s main venues. The festival added a cultural dimension to that role and brought officials and filmmakers from across the SCO to Kyrgyzstan. The event could also bring longer-term benefits to the Issyk-Kul Region. Visiting filmmakers were able to see the area’s mountain scenery and historic locations. They also viewed local facilities that could support future productions, potentially increasing interest in Issyk-Kul as a filming destination. Whether the festival becomes more than a one-off event will depend on the implementation of the initiatives announced in Cholpon-Ata. If the proposed co-production fund is established and the professional contacts formed during the festival develop into joint projects, the first SCO Film Festival could mark the beginning of a more integrated regional film industry rather than simply another entry on the cultural calendar. Earlier this year, The Times of Central Asia reported that the Bishkek International Film Festival had grown into one of Central Asia’s leading film industry platforms, attracting participants from more than 30 countries.

Tourism

Japarov Says Tourist Flow to Kyrgyzstan Has Reached 13 Million as Central Asia’s Travel Boom Accelerates

President Sadyr Japarov says the number of tourists visiting Kyrgyzstan has reached 13 million, although his July 21 statement did not specify the reporting period or methodology behind the figure. For a country of roughly seven million people, the reported total is nearly twice the size of its population. Kyrgyzstan’s official tourism statistics count border crossings rather than unique visitors, meaning the same traveler may be counted more than once. Japarov said the total had risen from 2-3 million annual visitors before 2020-2021. However, official tourism datasets have used different measures over time, so the comparison should be treated cautiously. Kyrgyzstan has steadily strengthened its position in Central Asia’s tourism market by promoting mountain destinations, ecotourism, trekking routes, and cultural heritage. Official expectations for visitor numbers have risen almost every year alongside continued investment in the sector. According to State Agency for Tourism Development head Eduard Kubatov, about 10 million tourists visited the country in 2025, contributing more than $1 billion to the economy. Earlier this summer, the agency forecast around 12 million tourist arrivals for 2026. Kubatov said tourism accounts for more than 5% of Kyrgyzstan’s GDP and that the government aims to increase its contribution to 7.5%. The National Statistical Committee separately estimated tourism’s gross value added at 3.8% of GDP in 2024. Another factor expected to support the sector is the removal of all air carriers certified in Kyrgyzstan from the European Union’s Air Safety List, opening the possibility of direct air services between the country and EU member states. Kyrgyzstan’s latest figures come amid a broader tourism boom across Central Asia, although comparisons between countries require caution because governments use different statistical methodologies. Some count all foreign arrivals, while others distinguish between overnight tourists, same-day visitors, and other categories of travelers. Kazakhstan reported 15.7 million foreign arrivals in 2025, excluding people entering for employment or permanent residence. Official data indicates that 11.1 million qualified as tourists, while accommodation statistics show that about 1.4 million foreign visitors used registered accommodation, suggesting many stayed with relatives, friends, or in private rentals. Uzbekistan also reported strong growth. During the first half of 2026, the country recorded 6.56 million tourist arrivals, nearly one-quarter more than during the same period a year earlier. For comparison, Uzbekistan recorded about 8 million tourist trips by foreign citizens throughout 2024. One notable feature of regional tourism is the intensity of cross-border travel within Central Asia. Kyrgyz citizens formed the largest group of foreign visitors to Uzbekistan during the first half of 2026, illustrating how neighboring countries increasingly generate tourism demand for one another. The latest figures reinforce the growing importance of tourism for Kyrgyzstan’s economy. Whether the reported arrival numbers translate into higher export revenues, longer visitor stays, and greater private investment will depend less on the volume of border crossings than on visitor spending, infrastructure development, and the industry’s ability to create sustainable economic value. For now, the available data suggest that tourism is becoming increasingly important in Kyrgyzstan and across Central Asia,...

Podcast

Pannier and Hillard’s Spotlight on Central Asia: New Episode Out Now

As Managing Editor of The Times of Central Asia, I’m delighted that, in partnership with the Oxus Society for Central Asian Affairs, from October 19, we are the home of the Spotlight on Central Asia podcast. Chaired by seasoned broadcasters Bruce Pannier of RFE/RL’s long-running Majlis podcast and Michael Hillard of The Red Line, each fortnightly instalment will take you on a deep dive into the latest news, developments, security issues, and social trends across an increasingly pivotal region. This week, the team covers a heatwave sweeping across Central Asia, anti-Taliban forces briefly seizing a district headquarters in a worrying sign of cracks in the Taliban's control, a shootout between different branches of Kyrgyzstan's security forces near the Uzbek border, promising new talks between Turkmenistan and Georgia, and a major shake-up inside Uzbekistan's presidential security services. Before then turning to our main story this week, where a growing number of countries are working with Central Asian governments to forcibly return Central Asian nationals, often into incredibly dangerous situations. - Steve Swedlow (Associate Professor of the Practice of Human Rights) - Bakhtiyor "Bakh" Safarov (Central Asia Consulting)

Marriage Age

Average Marriage Age Rises in Kazakhstan, Kyrgyzstan, and Uzbekistan

Twenty years ago, women in Kazakhstan first married at an average age of about 24. Today, the figure is about 25. Kyrgyzstan and Uzbekistan show the same gradual increase, although the pace varies from one country to another. Marriage Ages Rise Gradually in Kazakhstan According to Kazakhstan’s Bureau of National Statistics, the average age at first marriage in 2025 was 27.9 for men and 25.3 for women. In 2014, the averages were lower at 27.1 and 24.6, respectively. The gradual rise follows a global pattern. The average age of newlyweds is rising as the number of registered marriages declines. Kazakhstan registered 139,500 marriages in 2019. By 2024, the total had fallen 11.4% to 123,600. Seasonal patterns have remained steady. Most marriages in 2025 were registered during the summer, including nearly 13,000 in July. The bureau tracks both figures each year, and later reports will show whether these trends continue. Urban and Rural Marriage Ages Diverge in Kyrgyzstan In Kyrgyzstan, women first married at an average age of 23.7 in 2024, up from 22.4 in 2000. The nationwide increase was just over a year. Bishkek recorded a much larger change. The average age for first-time brides in the capital rose from 23 in 2001 to 27 two decades later. The increase was nearly four years, compared with just over one year nationwide. Regional differences remain substantial. Women in Batken Region first marry at an average age of 22.7, compared with 25.9 in Bishkek. The gap exceeds three years, showing how the national average combines sharply different local patterns. Men in Kyrgyzstan first married at an average age of 27.6 in 2024. The national average for men was almost four years higher than the figure for women. Annual statistics continue to show wide differences between regions. Marriage Age Is Rising Faster for Uzbekistani Men According to Uzbekistan’s State Committee on Statistics, men first married at an average age of 26.2 in 2024, compared with 21.8 for women. In 2000, the averages were 24.2 for men and 21.4 for women. Over those two decades, the figure for men rose by two years. The increase for women was less than half a year, a much smaller change than in neighboring countries. As a result, the gap between the average ages of men and women at first marriage widened from 2.8 years in 2000 to 4.4 years in 2024. Men are delaying marriage far more than women, and the difference has become a consistent feature of Uzbekistan’s marriage statistics. The trend is unfolding in a country with a young and growing population. As The Times of Central Asia recently reported, Uzbekistan’s 2026 census revealed a larger and younger population than previous estimates had indicated. How Central Asia Compares Internationally People in Central Asia still marry earlier than those in many European and North American countries. In the United States, the average age at first marriage is 30.8 for women and 32 for men. In Norway, it is 36.8 for women and 38.4 for men. Within...

Art and Culture

Kanybek Kalmatov Interview: Kyrgyz Director Takes on Chinghiz Aitmatov

At 25, Kanybek Kalmatov is taking on a subject many older directors might have avoided: Chinghiz Aitmatov, Kyrgyzstan’s most internationally recognized writer and a figure deeply embedded in the country’s cultural identity. Kalmatov, a cinematographer and graduate of VGIK, the prestigious Moscow film school, is making his directorial debut with Aitmatov, billed as Kyrgyzstan’s first full-length feature film about the writer’s life and career. The project has already drawn attention beyond Kyrgyzstan, not least because Russian actor Sergey Bezrukov has joined the cast. For Kalmatov, the film is also personal. He first encountered Aitmatov as a schoolboy through The Little Soldier, and later found that even at film school in Moscow, Kyrgyzstan was often viewed through the writer’s name. Now, after months of research and nearly a year spent developing the screenplay, he says he is ready to take on a life that one film can only partly contain. The Times of Central Asia spoke with Kalmatov about why he chose a biopic rather than an adaptation, how he approached Aitmatov’s life at such a young age, and why he hopes the film will send younger viewers back to the writer’s books. TCA: You have chosen an ambitious project for your directorial debut. How did the film come about? Kanybek Kalmatov: Since childhood, there have been two stories I always dreamed of filming. The first is about my parents, because they have an incredible love story. The second is about Aitmatov. It wasn’t only his works that fascinated me. It was the scale of his personality, how determined he was and how many different things he managed to do at the same time. I fell in love with Aitmatov when I was about 12, after reading The Little Soldier. It’s about a boy whose father died in the war. Since then, Aitmatov’s works have always stayed with me. Even at VGIK, where I studied, people often saw me through that lens: “You’re from Kyrgyzstan? The homeland of Aitmatov?” For us, he’s not just a writer; he’s part of our cultural code. So I felt that, sooner or later, this film was bound to enter my life. TCA: Were you afraid the project might not work? Kanybek Kalmatov: No. Probably because I believe strongly in intention. Any big undertaking starts with that. If your motivation is right and you understand why you’re doing it, things begin to fall into place. From the start, my intention was pure. I never saw this film as a way to gain fame or prove something to anyone. I wanted to tell the story honestly of someone who means so much to our culture. TCA: Don’t you think one has to “grow into” Aitmatov first? Kanybek Kalmatov: There are topics you need to mature into. But if you wait for the perfect moment, you may never make anything at all. Maybe if I waited another 15 years, I would approach this story differently. Or maybe I’d never dare. Personally, I respect people who aren’t afraid...

TCA Interviews

From Bishkek to Yakutsk: What Unites Eurasia’s Emerging Cinema

Stepan Burnashev is a Sakha filmmaker from Yakutia who has helped bring Yakut cinema to audiences far beyond the republic. His films have screened at international festivals, appeared on Amazon, and helped turn Yakut cinema into one of the most distinctive regional film movements in Eurasia. In Bishkek, where Burnashev served on the jury of the national KyrgyzBox section, The Times of Central Asia spoke with him about the phenomenon of Yakut cinema, international ambitions, and what connects Yakutsk, Bishkek, and other emerging cinemas of Eurasia. TCA: Stepan, this is not your first time attending the Bishkek International Film Festival. What attracts you to it? Stepan Burnashev: I love Bishkek very much. There is good cinema here, wonderful people, and Kyrgyz culture feels very close to me in many ways. I have attended three of the four festivals held so far. Still, I have never shown my own films here. The first time I came to Bishkek was at the invitation of Erke Jumakmatova, the head of the festival’s industry program. We met back in Busan, and she invited me to participate in a pitching session. Back then, I flew in with a team of Yakut filmmakers: Apollinaria Degtyareva, Alexey Egorov, and me. Apollinaria and I both participated in the pitching, and this year she entered the main competition of the Bishkek Film Festival with that project. The second time, I came on my own initiative because I had really fallen in love with the festival. It has a special warmth and atmosphere. This time I was invited as a jury member for the national KyrgyzBox program. TCA: How do you assess the KyrgyzBox program? Do you see any common ground between Kyrgyz and Yakut cinema? Stepan Burnashev: The program is interesting, though, as everywhere, there are weaker films and stronger ones. From what I understand, mainstream cinema, such as comedies, is more popular here, while in Yakutia, auteur films are also audience-driven. It is interesting, but I noticed that music is used much more actively in Kyrgyz films. In our films, music usually does not dictate anything to the viewer or tell them what to feel. Here I saw films with a different approach. It is curious. TCA: What kind of cinema interests you more today, auteur or mainstream? Stepan Burnashev: In fact, I do not divide cinema into auteur and mainstream. I divide films into good and not-so-good. I even try not to use the word “bad.” It seems unfair to the people who create films. Any director starts working on a film convinced they will make a great one. And I sincerely believe that no one sets out to make a terrible movie. Of course, there are cases where the result does not meet expectations, but behind every project there is the labor of many people. That deserves respect. TCA: What do you think about contemporary Kazakh cinema? Do you know it well? Stepan Burnashev: To say that I know Kazakh cinema very well would be an...