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Future Games

Future Games 2026 Begin in Astana, Kazakhstan

The third edition of the Future Games has opened in Kazakhstan’s capital, Astana, bringing traditional sport and esports together through digital technology. The opening ceremony was attended by President Kassym-Jomart Tokayev of Kazakhstan, President Sadyr Japarov of Kyrgyzstan, President Shavkat Mirziyoyev of Uzbekistan, and Rustam Minnikhanov, head of Russia’s Republic of Tatarstan. The competition runs from July 29 to August 9 and features more than 800 athletes from more than 50 countries competing for a prize fund of $4.75 million across eight disciplines. They include phygital football, phygital basketball, phygital martial arts, a phygital shooter, phygital dance, and tournaments in Dota 2, Mobile Legends: Bang Bang, and PUBG: Battlegrounds. Opening the Games, Tokayev said the tournament would provide fresh momentum for the development of the international phygital movement. “I am confident that the Future Games in Astana will give a powerful boost to the international phygital movement at the intersection of traditional sport and the gaming industry. It combines sport and intellect while also bringing together physical ability and intellectual potential,” Tokayev said. The Future Games have been held since 2024. The inaugural event took place in Kazan, while the second edition was hosted by the United Arab Emirates. The competition combines digital and physical formats, with athletes first competing in virtual contests before continuing the same discipline in real-world sporting events. The Times of Central Asia previously reported that Kazakhstan had originally been scheduled to host the second Future Games in 2025 but postponed the event by a year after redirecting public funds to deal with the aftermath of devastating spring floods. Several members of Kazakhstan’s parliament later proposed postponing the 2026 Games as well because of concerns over public spending.

Football

Dastan Satpayev Scores on Chelsea Debut

Kazakhstan international Dastan Satpayev has opened his account for Premier League club Chelsea, scoring in his first appearance for the London side, albeit in a pre-season friendly. Satpayev made his first appearance for Chelsea on July 28 at the age of 17, just weeks before his 18th birthday, after which he will become eligible to complete his move under FIFA regulations governing the international transfer of minors. Chelsea agreed to sign the Kazakhstan forward last year but postponed completion of the transfer until he reached the required age. Having joined the club for its pre-season preparations earlier this month, Satpayev was named in the starting line-up for Tuesday’s friendly against Australia’s Western Sydney Wanderers and opened the scoring in the sixth minute, netting his first goal for Chelsea. Chelsea head coach Xabi Alonso’s decision to hand the young Kazakh a place in the starting eleven was quickly rewarded. Satpayev was played through on goal in the 6th minute, finishing with aplomb by rifling a drive into the top corner. He was also instrumental in setting up Chelsea's second. Satpayev is appearing for Chelsea during pre-season as an international trialist, with permission from Kairat and his parents. His five-year Chelsea contract is due to begin when he turns 18 on August 12. Chelsea reportedly agreed a deal worth around €4 million for the forward. “I’ve known Dastan since last year, from my visit to Almaty, and you can already see he’s a different player,” Alonso said after Satpayev’s first appearance for Chelsea. “He’s a real threat around the opposition’s penalty area and attacks the space around the striker extremely well, arriving from wider positions. This is his first experience at a major club, and he acquitted himself well. He’s very strong and very quick. I think Chelsea supporters are going to be genuinely impressed by him.” Satpayev’s rise has been remarkably swift. In 2024, aged 15, he made his senior debut for Kairat in Kazakhstan’s League Cup and also made five appearances for Kairat-Zhastar in the second-tier First League. In 2025, he scored on his Kazakhstan Premier League debut against Kairat’s long-time rivals Astana, shortly after attracting Chelsea’s interest. Later that year, he made his senior debut for Kazakhstan and scored his first international goal against Belgium. At club level, Satpayev has already won the Kazakhstan Premier League title and the Kazakhstan Super Cup with Kairat. If he establishes himself in Chelsea’s first team, Satpayev would become the first Kazakh footballer to play in the Premier League, following the breakthrough made by Uzbekistan defender Abdukodir Khusanov, who joined Manchester City. The progress of Satpayev and Khusanov reflects a broader trend, with footballers from Central Asia increasingly attracting the attention of Europe’s leading clubs. For Kazakhstan, however, Satpayev could become a genuine trailblazer at the highest level of English football and help open the door for the next generation of players.

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.

Opinion

Uzbekistan’s Heritage Did Not Stop With the Silk Road

When people think of Uzbekistan’s architectural heritage, the images are familiar: the turquoise domes of Samarkand, the madrasas of Bukhara, Khiva’s walled city, and the monuments of Shakhrisabz. But Uzbekistan’s history did not stop with the Silk Road. At its 48th session in July, UNESCO inscribed “Tashkent Modernist Architecture. Modernity and Tradition in Central Asia” on the World Heritage List. The new site brings together ten buildings and urban complexes constructed between the 1960s and the early 1990s, during the period in which Tashkent was dramatically rebuilt following the 1966 earthquake. The inscription deserves to be celebrated. More importantly, it expands the definition of what Uzbek heritage can be. [caption id="attachment_52926" align="aligncenter" width="1774"] Kosmonavtlar Metro Station, Tashkent; photo: Mathieu Lemoine[/caption] These buildings do not belong to the world of caravanserais and Timurid courts. They represent another layer of the country’s history: the ambitious and highly creative transformation of Soviet-era Tashkent. For decades, Central Asian heritage has often been viewed through a chronological hierarchy. The older a monument, the easier it is to recognize as heritage. Timurid architecture is obviously precious. A concrete building from the 1970s can appear more expendable. Tashkent shows why that distinction is too simple. UNESCO notes that the architecture developed after the earthquake combined industrialized construction and seismic engineering with local climatic, cultural and material conditions. The result was not simply Soviet modernism transplanted to Central Asia, but a distinct architectural language adapted to Tashkent. This broader understanding of heritage comes at an important moment. Uzbekistan is modernizing rapidly. Its cities are growing, tourism is expanding, infrastructure is improving and redevelopment is transforming urban space. Much of this change is necessary and welcome. Historic neighborhoods cannot be expected to function as open-air museums. Residents need reliable drinking water, sewage systems, heating, electricity, internet access, waste collection, accessibility, safe streets and comfortable housing. A leaking pipe is not “authenticity.” The more difficult question is how modernization takes place. [caption id="attachment_52925" align="aligncenter" width="1774"] Tashkent Modernist State Museum of History; photo: Mathieu Lemoine[/caption] Uzbekistan has already experienced how delicate that balance can be. In Shakhrisabz, large-scale redevelopment substantially altered the historic urban fabric. The historic center was placed on UNESCO’s List of World Heritage in Danger in 2016 and remains there today. The experience offers an important lesson: preserving monuments is not necessarily the same as preserving a city. A city can retain its most famous madrasa, mosque or mausoleum while losing part of its heritage if the streets, neighborhoods, businesses and communities surrounding them disappear. The pressure is not only architectural. As tourism grows and historic centers become more desirable, economic incentives change. Houses can become hotels and restaurants. Businesses serving residents can give way to businesses serving visitors. Traditional workshops can struggle with higher costs. Redevelopment can create pressure on residents to relocate. Bukhara illustrates why this is important. Its identity rests not only on monumental architecture but on a living economy of craftsmanship. Gold embroidery, ceramics, jewelry, woodwork and other trades remain sources of employment as well as cultural identity....

UNESCO World Heritage List

UNESCO Adds Mangystau Rock Mosques to World Heritage List

UNESCO has inscribed the Rock Mosques and Associated Sacred Sites of Mangystau on its World Heritage List, following a decision adopted during the 48th session of the World Heritage Committee in Busan, South Korea, Kazakhstan’s Ministry of Culture and Information said. The same session also inscribed Tashkent Modernist Architecture, giving Central Asia two new cultural inscriptions. The serial property, located on the Mangystau Peninsula bordering the Caspian Sea, comprises five sacred complexes: Beket-Ata, Shopan-Ata, Karaman-Ata, Shakpak-Ata, and Sultan-Epe. According to the World Heritage Committee, the site represents an outstanding sacred landscape shaped by centuries of interaction between Sufi spiritual traditions and the culture of the region’s nomadic communities. Each complex combines rock-cut mosques, historic necropolises, burial sites of revered Sufi figures, pilgrimage routes, sacred wells, and other religious monuments. The inscription makes the Mangystau complexes Kazakhstan’s seventh World Heritage property. The country’s previously inscribed sites are the Mausoleum of Khoja Ahmed Yasawi, the Petroglyphs of the Archaeological Landscape of Tanbaly, Saryarka – Steppe and Lakes of Northern Kazakhstan, the Kazakh section of the transnational Silk Roads: the Routes Network of Chang’an-Tianshan Corridor, the transboundary Western Tien-Shan site, and the Cold Winter Deserts of Turan, shared with Turkmenistan and Uzbekistan. The rock mosques remain active pilgrimage destinations where the centuries-old institution of the shyrakshy, or custodians of sacred sites, continues to play an important role. All five complexes are protected by the state and are included in Kazakhstan’s national register of historical and cultural monuments. An Integrated Management Plan for 2027–2032 covers conservation, landscape protection, visitor management, disaster risk management, and research. UNESCO’s conservation recommendations also call for Kazakhstan to reassess the use of cement mortar and other modern materials, strengthen monitoring of tourism and disaster risks, and preserve the secluded character of the sites. The Times of Central Asia previously reported that Zharkent Mosque and the Ascension Cathedral in Almaty had been added to UNESCO’s Tentative World Heritage List, expanding the pipeline of Kazakh sites that could be considered for future inscription.

TCA Interviews

From Instagram to Hollywood: How Kazakhstan’s Yerlan Tanay Became a Sought-After Colorist

Kazakhstani colorist Yerlan Tanay has built an international career in post-production, working with major companies including The Mill and Company 3. Now based in Los Angeles and working freelance, he has experienced both the opportunities and instability of Hollywood’s highly competitive market. His long-term goal is to move further into feature films. Tanay career changed after he began sharing his work on Instagram, where he was approached about joining The Mill. In this interview with The Times of Central Asia, he explains how that move opened the door to Hollywood and what he learned inside leading post-production studios. TCA: You have worked as a colorist for eight years, including three years in Hollywood. You were initially invited to join the renowned British post-production company The Mill, which had an office in Los Angeles. How did they find you? Tanay: I was invited by Paul Yacono, the head of The Mill’s Los Angeles office. He is a well-known Australian colorist who has lived and worked in the United States for many years. He graded films for David Fincher and Chloé Zhao and also worked on major series such as House of Cards and music videos for international artists. We met on Instagram and spent almost two years simply communicating, following each other’s work, and occasionally discussing projects. Then one day, he wrote to me: “Would you like to have a Zoom call? We have an offer for you.” During the call, he asked whether I would consider moving to the United States. He then explained that a position had opened and that they were looking for a colorist from outside the American market; someone with a different professional background. It came as a complete surprise to me. TCA: So, Instagram literally changed your career? Tanay: Yes, absolutely. A producer once told me something very simple: “You do good work, but nobody knows who you are.” That was when I realized I needed somewhere to show my work. To be honest, I was skeptical about Instagram at first. I thought it was a platform where people posted pictures of food or makeup, not a place for a professional portfolio. But once I started posting my projects regularly, things gradually changed. My audience grew, people began noticing me, and then job offers started coming in. I was probably also fortunate to enter the platform at a time when professionals were only beginning to use Instagram actively for work. TCA: Last year, The Mill ran into financial difficulties and was sold and restructured. What changed for you? Tanay: I spent two very productive years there, but I had to leave together with the old team. After that, I received an offer from Company 3. To give you an idea, it is one of the companies that sets the standard for color grading in global cinema. If you ask any good cinematographer or director what Company 3 is, there is no need to explain it. Everyone knows the brand. You could say Company 3 is...