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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...

TCA Interviews

From From Global Streaming to International Productions: Kazakhstan Filmmakers Go International

Makpal Kursabayeva is a sound engineer whose work has increasingly extended beyond Kazakhstan’s local film industry. Over the years, she has contributed to projects with international teams, from working alongside The Matrix cinematographer Bill Pope to taking part in series produced for global streaming platforms. Her career highlights the expanding role of Kazakhstani professionals in international production and shows that local crews can compete with their Western counterparts. Her work includes on-set recording, post-production, and sound capture in environments ranging from military airbases and nighttime steppes to urban locations. In an interview with The Times of Central Asia, she discusses how the industry works and why crews from Kazakhstan are competitive in international productions. TCA: You are a highly experienced sound engineer, but most of your work has been on local projects. Do you think Kazakhstani specialists are competitive in the global market? Makpal: I have no doubt about it, however confident that may sound. Recently, we worked on an international series filmed in Kazakhstan by Turkish filmmakers. Many department heads were Turkish, but I led the sound department. We worked and communicated seamlessly; there were no barriers at all. And that’s always the case. I also worked on a commercial project for Chevron, where the cinematographer was Bill Pope, who shot the legendary film The Matrix, the Ant-Man films, Shang-Chi, and more. TCA: Was the entire crew international as well? Makpal: The second director was American. Playback equipment was brought from Moscow. It was a mix, bringing together the best. The Russian team even said that such sound equipment isn’t available in Moscow. Technically, we are not lagging behind at all. We also have plenty of talented and highly skilled professionals. TCA: Were they at all arrogant? Makpal: Not at all. Bill Pope was great to work with. He’s like a rock star, very open, loves music. We talked about ethnic music; I let him listen to the band Turan. He even asked me to play the dombra. I was a bit nervous because the executive producer was very strict, and I thought she might say I was disrupting the workflow. But he went to her himself and asked, and then she was the one chasing me to make it happen, so the question isn’t whether we can work at a Western level; we already do. TCA: You’ve also worked with German teams on Emir Baigazin’s films, and with French teams on projects by Yermek Shinarbayev and Akan Satayev’s epic Myn Bala: Warriors of the Steppe? Makpal: Yes. There was an interesting experience with one Western specialist, I won’t say from which country. I thought they had a different school and that I could learn from him. But while he was good on set, he wasn’t very strong in post-production. It even got to the point where I was teaching him, explaining how to properly edit sound and the technology behind it. Sometimes I would suggest something, and the next day those ideas would be presented as his own....

Cinema

Kazakh Producer Yulia Kim: “We Are Closing the Gap Between Central Asia and World Cinema”

Central Asia is increasingly being recognized as a bright new spot on the global cinema map. Films by regional directors are now regularly featured in major festival programs, and international curators are paying closer attention to the area’s filmmaking talent. One of the key platforms fostering these connections is the Post Space film camp in Kyrgyzstan, a space where emerging directors present their work directly to global festival decision-makers. The Times of Central Asia spoke with Post Space co-founder and Kazakh producer Yulia Kim about how this format works, why bridging the gap between the region and the global film industry is vital, and how campfire songs can forge creative collaborations. [caption id="attachment_42621" align="aligncenter" width="1060"] @PostSpace[/caption] TCA: Yulia, you’re one of the founders of Post Space, widely considered the most influential film camp in Central Asia. You’ve been organizing it for four years now. Has it yielded results? Yulia: Many. In 2024, the Locarno Film Festival invited two Kazakh directors, including Aruan Anartay, a Post Space participant. Last year, we had another Kazakh participant. The Lisbon Film Festival even curated a program specifically dedicated to Central Asian cinema. Its director, Portuguese producer Paulo Branco, visited Post Space for the first time in 2024 and fell in love with our filmmakers. I believe that for the festival curators we invited, Central Asia has opened up in new ways. They now approach our films with a deeper understanding and, hopefully, greater interest. TCA: Would you say international interest is growing? Yulia: Yes, but Post Space aims for more than just professional development. We also strive to create a friendly, supportive atmosphere. The connections formed here often become lasting collaborations. For instance, we ran a screenwriting lab, and soon several films developed during that project will be released. One participant, Diaz Bertis, refined his script with the help of an international mentor we brought in. These are vital steps for our industry. TCA: Many local initiatives fizzle out quickly. Are you planning for the long term? Yulia: Absolutely. Our project is just gaining momentum. But we’re working with a minimal budget and little external support, which limits what we can do. We'd like to offer more grants and long-term support to the projects emerging from Post Space, but for now, it’s mostly moral support. Still, we’re pushing forward, and young filmmakers are eager to grow with us. We focus on giving a voice to emerging artists who aren’t even recognized at local festivals, let alone international ones. TCA: So Post Space is a launchpad for debut filmmakers? Yulia: For many, yes. There’s so much talent in the region, but a lot of it has no connection to the film industry. We want to be the space where they gain confidence, present their work, and receive feedback. Many participants hadn’t shown their films anywhere before Post Space, often due to fear or inexperience. They were thrilled to screen their work here. TCA: What stood out about Post Space 2025? Yulia: Each year has its...

Cinema

Jackie Chan to Film New “Armour of God” Sequel in Kazakhstan

Legendary actor and filmmaker Jackie Chan is set to return to Kazakhstan to work on the latest installment of his iconic action franchise, Armour of God: Ultimatum. The project will be produced in partnership with Kazakhstan’s Salem Entertainment, which officially confirmed its involvement. “We can now officially reveal details of Jackie Chan’s visit to Almaty. He will be working on the new film Armour of God: Ultimatum. The fourth installment of this legendary saga will be filmed here in Kazakhstan,” the studio said in a statement. Chan visited Almaty in late September, prompting speculation in local media, including rumors he might attend a football match between Real Madrid and FC Kairat. However, the visit turned out to be professional: he was scouting filming locations with the Kazakh production team. “During his stay in Almaty, Jackie Chan joined our team in selecting filming sites. Most of the production will take place in Kazakhstan. We can’t reveal details yet, but it’s going to be something truly spectacular,” Salem Entertainment added. The original Armour of God premiered in 1986 and became an international box office success, cementing Chan’s status as a global star. A sequel followed in 1991, and the franchise was revived two decades later with Armour of God 3: Chinese Zodiac. For Kazakhstan, the production presents a rare opportunity to showcase its cinematic potential and diverse filming locations to a global audience. Chan remains famous for performing all his own stunts. In an interview with Haute Living, he confirmed that this principle still guides his work, even after six decades in the industry. “I always do my own stunts. It’s part of who I am, part of my profession and my identity. That won’t change until I retire. And retirement doesn’t interest me,” Chan said. He added that staying in peak physical condition has become instinctive: “I don’t need special preparation anymore. It’s already inside, in my heart, my mind, and my muscles. It’s just a habit I’ve never lost.”

Cinema

Two Duishens: 60 Years of a Seminal Soviet Kyrgyz Film

Andrei Konchalovsky’s First Teacher, an adaptation of Chingiz Aitmatov’s famous work of the same name about an educator who undertakes the task of tutoring the kids in a remote Kyrgyz village, re-tailors the protagonist and the plot to convert a coming-of-age symphony into a triumph over tragedy while maintaining the book’s core values. In one of the earlier frames of First Teacher (Konchalovsky, 1965), the well-meaning beggar-turned-Komsomol member Duishen tears into a young student who suggests that the impermanence of life might also apply to, besides everyone else, Lenin. Duishen’s God-like reverence for the father of the Soviet experiment is also present in Chingiz Aitmatov’s novel of the same name. And yet, unlike the reserved and understanding protagonist of the book, who has the qualities if not qualifications of an educator and would’ve perhaps counselled the young one in the situation mentioned above, Konchalovsky’s teacher is an obstinate simpleton who is almost always on the edge and yearning for the village’s respect. Inna Merkoulova and Marina Merkoulova, in their brilliant essay ‘The first teacher: A case of intersemiotic translation. When Chingiz Aitmatov’s short story becomes Andrei Konchalovsky’s film’ discuss how the movie adaptation is a case of intersemiotic translation by the director, wherein the work transforms from Aitmatov’s drama into Konchalovsky’s tragedy through the usage of various film techniques. In fact, I believe that Duishen’s character undergoes a severe reinterpretation, from a Leninist disciple trying to do his bit for the Proletarian dictatorship by educating the kids in the book to a hot-headed agitator eager to force the Soviet will on the local populace in the film. In this work, we’ll analyse how the ‘two Duishens’ manage to achieve their objectives and meet at a similar end despite existing in vastly different frameworks. The ‘first Duishen’ from Chingiz Aitmatov’s book is sketched by an older Altynai, the Red Army soldier’s favourite disciple, who after achieving success as an academician in Moscow, looks back fondly at the bold Duishen of her childhood in the 1920s. A man who used the meagre resources at his disposal to become the village’s first educator. Someone who helped her achieve her potential. Duishen’s teachings have an importance that is much greater than the bookish knowledge that the soldier imparts. Duishen’s education is an act of courage, for they come from a man who is barely literate himself, his teachings restricted to basic numerals, letters and political wordings. But it assumes significance in the fact that Duishen shows the fortitude to overcome his circumstances, and becomes more than what fate had assigned him. Further, he indoctrinates the other illiterates, especially the weakest sections of a conservative society: women and children, to follow suit and take first steps towards their emancipation. Aitmatov’s hero is moulded as a Soviet ideal, and sits closer to the cinematic Duishen’s imagination of ‘hundreds and thousands’ steel-like party members who would keep the revolution alive after Lenin’s demise. He shows balanced wisdom in judgments, the heart of a soldier in peril, and...

Film Festival

Kyrgyzstan: Film Festival Showcases Central Asian Talent, New and Old

An international film festival in Kyrgyzstan this week is celebrating the past, present, and future of Central Asian cinema. The Bishkek International Film Festival features a retrospective of the work of Kyrgyz director Tolomush Okeev, whose films include The Ferocious One, The Red Apple, and The Descendant of the Snow Leopard; a presentation of ten film projects by emerging directors in Central Asia; and a competition among nine films whose directors are from Kyrgyzstan, Kazakhstan, Uzbekistan, and Tajikistan. The June 11-15 festival also has master classes for those who really want to dig into the craft of making films. Hosts of some of the classes include actor and educator Olesya Gribok, who will talk about working with emotions, self-presentation, and other core actor values; designer Alex Rosno, who will discuss using AI tools to create scenes and build storyboards; and Andrzej Bartkowiak, a cinematographer and director with decades of experience with lighting, movement, and composition. Films from India, Mongolia, Germany and other countries will vie for an international prize. A separate contest involves nine films from Central Asia, seeking to highlight the region’s movie-making talent. There’s also “KyrgyzBox” - a competition just for movies, including box office standouts, from Kyrgyzstan. In another contest, film project contenders are “accepted only from citizens from Central Asian countries – Kyrgyzstan, Kazakhstan, Uzbekistan, Turkmenistan and Tajikistan - with strong potential for international distribution,” according to the film festival. The project must be a feature film that is at least 75 minutes long and filming must be planned in Central Asia or have a “close connection” to the region. The retrospective of Okeev, who died in 2001 at age 66, showcases a screenwriter and director who made films over several decades of the Soviet era and was known for filming in the majestic mountains and deserts of Kyrgyzstan. The Bishkek festival, the third edition of the event, will screen several of Okeev’s films, including The Descendant of the Snow Leopard, a 1984 film that draws inspiration from Kyrgyz tales about hunters who follow ancient laws. “When a young chief, Kojozhash, breaks a sacred ancestral taboo, it leads to tragic consequences for the entire tribe,” the festival says in a description of the film. The snow leopard is a national symbol of Kyrgyzstan, which is taking steps to protect the vulnerable species.