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Cinema Film Festival Art and Culture

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.

revenue growth Bureau of National Statistics attendance growth Cinema

Kazakhstan’s Cinema Sees Record Growth in Attendance and Revenue

Cinema attendance in Kazakhstan grew by 11% in 2024, reaching a record 23 million viewers, according to the Bureau of National Statistics. This surpasses the previous year’s record of 21 million, reflecting a sustained recovery and growth in the country’s film industry. Of the total visits, foreign films accounted for 53%, approximately 12.2 million admissions, while domestic films drew 43% of the audience. Co-produced films made up the remaining 4%. Revenues from cinema screenings also hit a new high, reaching 43.9 billion tenge ($84.1 million) in 2024, up from 37.3 billion tenge ($71.5 million) the previous year. Domestic productions contributed 17.8 billion tenge ($34.1 million), marking a 19.3% increase from 2023. That year, revenue from Kazakhstani films grew by an impressive 58.5% compared to 2022. Foreign films generated 24.2 billion tenge ($46.3 million), showing a 17.8% increase over the previous year. Kazakhstan currently has 113 cinemas, with the largest concentrations in major cities: Almaty (22), Astana (11), and Shymkent (7). These cities also led in audience numbers, with Almaty recording 7.8 million visits, Astana 4 million, and Shymkent 1.9 million. In 2024, the Kazakh film industry produced 514 films, 127 more than in 2023. The breakdown includes 175 feature films, 215 documentaries, 83 animated films, and 41 newsreel-style chronicles. Feature-length films accounted for 18% of this output, with the rest being short films. However, despite increased production, the number of operational film studios fell from 98 in 2023 to 80 in 2024. This contraction highlights ongoing structural challenges in the sector, even amid growing output and audience engagement. As previously reported by The Times of Central Asia, Kazakhstan is leveraging its cinematic revival to reinforce national traditions and cultural identity.

ISS Space Exploration Baikonur Cinema

Unveiling the Magic: Behind the Scenes of “Baikonur”

Space continues to capture our imagination and inspire our stories, as we try to make sense of this vast final frontier. In the last part of our series on Baikonur, we explore its depiction within cinema. In 2011, German filmmaker, Veit Helmer released Baikonur, a story about space, scavenging and misguided love that was shot within the region. TCA spoke to him about filming in this heavily restricted landscape. TCA: What was the inspiration behind your film, Baikonur? What drew you to this subject matter? Helmer: I was fascinated by the actual place, or what I knew about it; a hidden city with such a glorious past. Whilst researching, I found out about the scavengers who collect the pieces which fall on the steppe when the rockets are heading to space. To tell both stories at the same time intrigued me: space exploration and hunting for scrap metal. TCA: Given you also directed Absurdistan and Tuvalu, would it be fair to say you’re drawn to far-flung places? Helmer: Yes, I love to explore and find locations which haven’t been filmed before. But compared to the locations of my previous films - Tuvalu, which was shot in Bulgaria, and Absurdistan, which was shot in Azerbaijan - to travel to Baikonur was a much longer journey. [caption id="attachment_21684" align="aligncenter" width="2560"] Still from the film, "Baikonur," Alexander Asochakov as "Gagarin" leaving, villagers standing near yurt; image: Veit Helmer[/caption] TCA: As stated in the tagline of your film, “Whatever falls from heaven, you may keep. So goes the unwritten law of the Kazakh seppe. A law avidly adhered to by the inhabitants of a small village, who collect the space debris that falls downrange from the nearby Baikonur space station.” The village scavengers portrayed in your film are based in reality; how did you find out about them, and what was your experience with them? Helmer: It was very funny reading the first review from Kazakhstan, where a young journalist wrote that the film is based on the old Kazakh law “Whatever falls from heaven, you may keep,” which in reality was an invention by my screenwriter, Sergey Ashkenazy. But as this fable seems to feel so real, I never tried to dispel that myth. When writing the screenplay, Sergey and me went to Zheskaskan and the surrounding steppe, talking to the hunters of the scrap metal. It was not an ideal moment, because Roscosmos started to collect the debris themselves and the local villagers’ activity became illegal. The new reality was not villages against each other, but villagers against Roscosmos. [caption id="attachment_21685" align="aligncenter" width="2560"] Still from the film, "Baikonur," Alexander Asochakov as "Gagarin" (center) cleaning assembly hall in Baikonur ; image: Veit Helmer[/caption] TCA: As a Western filmmaker you were granted a unique opportunity to film within Baikonur - what did you observe of the landscape? What were the highlights of this experience? Helmer: There was a saying among the early cosmonauts that the Central Asian steppe was for them...

Art and Culture Cinema

Development of Kazakhstan’s Cinematography: An Inside Look – An Interview with Kazakh Actor, Abay Kazbayev, on Kazakhstan’s Film Industry and its Prospects for Development

Kazakhstan's film industry is attracting more and more attention globally, and many talented actors are contributing to its development. One such theater and film actor is Abay Kazbayev, who agreed to share his experience and vision of the industry. How did you start in the industry? I have no specialized education, but I’m constantly learning. I started to explore a career path as an actor at the age of 33, after trying my hand in many different fields. I’m now actively engaged in developing my range, from plasticity to internal monologue. To date, I’ve worked on series such as Shahristan, Upperty, and Shabashniki. Shooting the latter, I had to shave my head for the role, which looked strange. In general, I like to experiment on the image. It’s interesting to observe the change of type. I also worked on two theater projects, on one of which I was lucky enough to work with Saulius Varnas, a European theater director. He staged the play, A House in the Middle of Spring, based on Eugene Ionesco's script, Hunger and Thirst. On this project, I worked with such professionals as Marat Amiraev, Altynshash Shayakhmetova, Sharim Dostay, and others. In my second theater project, I had the lead role, but, unfortunately, we managed to stage just one private performance. (Shakhrisatn is a Kazakh detective thriller from 2023; Marat Amiraev is a famous Kazakh actor who starred in such series as 5:32 and Prisoners; Altynshash Shayakhmetova is a Kazakh actress who starred in such series as Boztorgai and Bir Toksan.) How do you perceive the evolution of Kazakhstan's cinematography over the past decades? What key changes have taken place, in your opinion? It is difficult to talk about decades, as ten years ago, I was in a completely different sphere. But I can say that coming to the movie theater I can now watch one or two of our domestic films, which certainly pleases me. Ten or twenty years ago, the release of a Kazakhstani film in theaters was something of an event, but it’s now become the norm. Many people criticize our movies for being limited to comedies and crime dramas but I for one, greatly enjoy movies such as Business in the Kazakh Way. It is still too early to talk about (local movies) as an industry, since to my mind, it doesn’t exist as such. Having said that, we have plenty of people engaged in creating movies: directors, producers, actors, - actors turned directors, actors turned producers, and vice versa. A highlight for me, was the movie Nomad. Released about twenty years ago, it ignited the dreams of many aspiring artists many of whom have since made a name for themselves, including Sanjar Madi, who starred in many of its scenes. Other key events include Akan Satayev's The Racketeer which came out a few years after Nomad, followed by Farhat Sharipov's The Tale of the Pink Hare. Both provided a wave of new faces and young blood to...

Cinema

Uzbek Film “Dreamers” Wins Award at Cannes World Film Festival

A documentary film entitled "Dreamers", released by BWG Production in Uzbekistan, has won the award for "Best Historical Film of December" at the World Film Festival in Cannes, France. This win opens the door for the movie to compete for the festival's prized "Film of the Year" title. Ruslan Saliev, the film's director, hailed the success as extraordinary for Uzbek film. He was confident that Dreamers, which explores the nation's historical suffering, would strike a chord with viewers around the world. Saliev emphasized the value of these festivals in showcasing the nation’s cultural legacy abroad. He also hoped for the chance to represent Uzbekistan at more international film festivals. "The use of reconstructions and art installations as a modern artistic interpretation in the documentary film Dreamers [should] be considered a positive experience," explained Uzbek film critic Mohinur Ahmetjonova. "Of course, this approach doesn't always fully reveal the [true] reality, but it gives an effective result in creating a general representation. But when it comes to covering the historical truth, it is noticeable that there is an attempt to avoid the bloody past and to present the atrocities that happened in a [softer light]. It's no coincidence that the approach of trying to describe the achievements of the period has caused several objections by historians and film experts." "The fact that the filmmakers tried to combine large-scale events in one film gives the impression that they were a little distracted from the original goal... in general, in this period when new views on history are being formed, it's natural that there are different opposing opinions about the film," Ahmetjonova added. Dreamers won the prize over the English film The Shamrock Spitfire, which tells the story of an Irish military pilot during WWII.

Turkmenistan Culture Cinema

Turkmenistan: American film experts present documentary films in Ashgabat

ASHGABAT (TCA) — The U.S. Embassy in Ashgabat sponsors its annual screenings of independent documentary films on Saturday, October 26, and Sunday, October 27, at the Ashgabat Cinema, featuring three critically-acclaimed movies, and followed by a Q&A with American film experts, the embassy said. Continue reading