Kazakhstan’s domestic film industry is experiencing a renaissance, successfully competing with and even surpassing foreign productions in box office revenue, an outcome that was unthinkable just a decade ago.
Ten years ago, Kazakhstani films and television were seldom watched. Western and Russian blockbusters dominated cinemas, leaving little room for domestic content. Filmmakers lamented that their work attracted only a niche audience of aesthetes and patriots. Today, however, Kazakh productions are filling theaters and attracting millions of online views.
“In 2024, the output of Kazakhstani films increased by 58%. Among the top 10 highest-grossing films, every second one was a domestic production. Revenue from foreign and domestic films was nearly equal. This demonstrates the growing interest of audiences in national content,” Kazakhstan’s Prime Minister, Olzhas Bektenov, said on March 18.
By the end of 2024, Kazakhstani films had grossed more than 22 billion tenge, a 30% increase compared to 2023, according to Alexander Aksyutits, general director of the Top Pro Cinema production center. The number of films released during the year surged from 65 to 107.
“What’s even more important is that Kazakhstanis’ attention to national cinema continues to grow. Looking at the top 20 highest-grossing films of last year, 70% were locally produced. Just a few years ago, foreign films dominated the market. As a result, our film industry is attracting increasing interest from private investors. Equally significant are the positive changes in the state financing system for film production,” Aksyutits said.
YouTube/frame from the series “5:32”
Streaming Demand and Cultural Shift
Aksyutits also noted a surge in Kazakhstan’s TV series production, largely due to the rising popularity of streaming platforms. However, demand for local content currently outstrips the country’s production capacity, primarily due to a shortage of skilled professionals.
Some experts believe this shift in audience preferences is linked to a growing cultural divide between Kazakhstan and the Western and Russian film industries. As narratives diverge, local audiences increasingly seek stories that reflect their own experiences and values.
“In recent years, I’ve started watching Kazakhstani TV much more often. Before, I had little interest in them and barely knew they existed. Now, I remember titles like Meow, 5:32, Patrol, and Sake. These are mostly crime dramas or comedies. What draws me in are the relatable characters, people you might see in your own neighborhood. The familiar settings, humor, and natural dialogue make the stories feel real,” said Alexander, a resident of Almaty.
The TV series Meow follows drug couriers and the battle against them, while 5:32 delves into the world of serial killers. Sake and Patrol take a comedic approach, with the former portraying a charmingly corrupt mid-level official and the latter focusing on the daily lives of police officers. According to critics, this new wave of TV content, which is currently achieving high ratings on television and accumulating millions of online views, successfully blends serious themes with strong performances and humor. Countries including Russia, Kyrgyzstan, Ireland, Germany, Azerbaijan, Turkey, India, South Korea, the UK, and Uzbekistan have begun purchasing Kazakhstani content.
Movie poster “Dastur”
Box Office Success and New Horizons
The film Dastur (Tradition) is one of the latest domestic productions to break box office records in Kazakhstan. The film tells the harrowing story of a young woman forced to marry her abuser while her community remains indifferent. As the protagonist seeks revenge — whether by her own hand or through a mystical force — the film delivers a powerful social commentary.
“I was deeply moved by Dastur. Some may argue that its plot isn’t groundbreaking, but the film captures an ordinary Kazakhstani village with such authenticity that it feels personal. The characters, uncles, aunts, grandmothers, are so real and familiar, yet terrifying in their complacency. I cried while watching it,” said Rabiga, a university student.
Beyond modern social issues, Kazakhstan’s film industry is also producing high-quality historical films. “I’m thrilled to see well-made movies about Kazakhstan’s historical figures, warriors, artists, writers. We know so little about them, and now these films are bringing their stories closer to modern audiences,” Rabiga added.
Within a week of its release, Dastur had earned more than 1 billion tenge, surpassing the Hollywood blockbuster Aquaman. For many, this marked the beginning of a new era for Kazakhstani cinema.
