Film Festival - The Times Of Central Asia

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Film Festival

Women, Cinema and Changing Kazakhstan at QYZQARAS 2026

From August 20 to 30, Almaty hosted the third edition of QYZQARAS, an independent international film festival dedicated to women directors’ voices and the female gaze in cinema. Held this year at the Tselinny Center of Contemporary Culture, the festival presented 21 feature films, including five notable works from Central Asia, among them Kristina Mikhailova’s widely discussed River Dreams. River Dreams had its world premiere in the Berlinale Forum Special section in 2026 and received the Prize of the Ecumenical Jury in the Forum program. The screening marked an important milestone: the film became the first Kazakh documentary feature to premiere at the Berlinale. After a run of international festival appearances, the film returned home: on August 20, it opened QYZQARAS at the Tselinny Center of Contemporary Culture. River Dreams “This epic helped me believe in myself and feel at peace. I believe every frame,” Kristina said after the long applause that followed the final scene. Opening with a striking metaphysical orange river, River Dreams explores the inner lives of women in Kazakhstan. Constantly balancing between dream states and startlingly candid confession, the documentary immerses viewers in a wide range of themes – love, trauma, resistance, and survival – as women reflect on their pasts beside moving water. Grounded in a deeply humanist perspective, Mikhailova’s film presents tenderness as a sustained act of courage. Kristina’s presence behind the camera and the atmosphere of trust on set create an unpretentious portrait of contemporary Kazakhstan. It explores how the image of women is changing in this context, and how women directors themselves are shaping that change. Mikhailova begins with a simple question: “What kind of river are you?” From there, she builds the film around the personal stories of women of different ages and social backgrounds in Kazakhstan. This initial impulse encourages them to compare socially constructed ideals of femininity with what actually exists inside each of them. The most unexpected aspect of the film is the amount of humor. The protagonists’ wry, self-aware voices form an uncompromisingly honest agenda for contemporary Kazakh society: corruption, impunity, language, violence against women, and decolonization. “Decolonization is not only about one’s native language; it is about hierarchy. We look down on one another – it is a slave mentality: ‘I am better than you, so I will discriminate against you,’” says one of the young women featured in River Dreams. The director takes a transparent approach to the sensitive issue of language: in her view, what matters most is not which language we speak, but whether we are speaking about what truly matters. [caption id="attachment_56247" align="aligncenter" width="1024"] Image: Azhar Utezhan[/caption] “The girls did not resist or struggle with the concept of radical vulnerability; it is a very simple idea,” Mikhailova said. The Aksai River, where Kristina grew up and where her father taught her as a child to be stronger, becomes an embodiment of the socio-political whirlpool into which women in Kazakhstan have been drawn over the past 30 years. Unpredictable weather and shifting water levels carry...

Burabay Festival

French Film and British Screenplay Win $16,000 at Kazakhstan’s Burabay Festival

A French animated film and a British screenplay have won grants worth a combined $16,000 at the fifth Burabay International Short Film Festival in northern Kazakhstan. The festival was held in Shchuchinsk from August 12 to 14, bringing together filmmakers and cultural figures from more than 20 countries, according to organizers. Founded by London-based Silk Road Media in partnership with the Eurasian Creative Guild, BISFF focuses on short films and screenplays, and this year introduced live pitching to the final stage of its competition. The Best Short Film award went to French filmmaker Erwan Le Gal for Hypatia of Alexandria: The Solitary Bee, a 13-minute animated film about the philosopher Hypatia, who was killed in Alexandria in 415. Le Gal received a $6,000 grant intended to promote the film through international screenings. British screenwriter Judson Vaughan won Best Screenplay for Kebam!, receiving a $10,000 production grant. Under the festival’s rules, the grant is intended to support the development of the screenplay into a film with a production team. The international jury included film and cultural professionals from Kazakhstan, the UK, Austria, Italy, and Russia. Luis Francisco Martínez Montes, Spain’s ambassador to Kazakhstan, served as an honorary jury member. Alongside the competition, the programme included outdoor screenings, an exhibition by the local Art Burabay group, and a workshop led by festival director Taina Kaunis. Burabay has hosted several international events organized by the Eurasian Creative Guild in recent years. In December 2025, The Times of Central Asia reported on a British-Kazakh cultural festival there that also incorporated the Burabay short film competition.

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.

Film Industry

Bishkek Film Festival Positions Itself as Central Asia’s New Cinema Hub

In only four editions, the Bishkek International Film Festival has begun to look less like a young local event and more like one of Central Asia’s key meeting points for cinema. This year’s edition, held in the Kyrgyz capital, brought guests from more than 30 countries, and saw nine world premieres and a competition slate that revealed how closely filmmakers across Asia and Europe are now speaking to one another. Alongside its three competition strands — International, Central Asian and the national KyrgyzBox section, which featured some of the country’s highest-grossing projects — the festival hosted industry events, pitching sessions and the Bars in Progress section for films at various stages of post-production. Kyrgyz audiences were also introduced to Mongolian cinema through the festival’s annual country focus. The opening ceremony took place under open skies in Bishkek’s main square, where guests were welcomed on a sky-blue carpet. The event’s growing profile has been backed by state support, with the authorities recognizing that such an event can give the local film industry a major boost. At the opening, Kyrgyzstan’s Minister of Culture, Information and Youth Policy, Mirbek Mambetaliev, said state support for national cinema had increased almost tenfold: while four years ago around $915,000 was allocated for film production, today that figure has reached $10.6 million. [caption id="attachment_50456" align="aligncenter" width="2560"] Image: bishkekfilmfest[/caption] Guest Program: Audrey Tautou and a Bollywood Masterclass This year, the festival placed its bets not only on films, but also on high-profile international guests. The main highlight was Audrey Tautou, who rarely appears at events of this kind. The French actress said she is now more interested in working on the other side of the camera, and is producing an animated project. Tautou seemed deeply moved by the reception. As she said goodbye to the audience, she singled out and thanked a small child who had sat quietly in the hall the entire time without crying. Only then did it emerge that the little girl’s name was Audrey Bermet: her parents, an American father and a Kyrgyz mother, had named her after the actress. This almost accidental episode unexpectedly became a symbol of the festival itself: a major international event that, despite its growing scale, has not yet lost its remarkable intimacy and human warmth. Another highlight was a masterclass by Sandip Soparrkar, a Bollywood choreographer who has worked with some of the biggest stars of both Bollywood and Hollywood. He turned an ordinary lecture into a full-scale show, explaining why dance became the main language of Indian cinema and how it had been shaped by a variety of influences, from classical traditions to jazz, disco and modern hip-hop. Soparrkar also lifted the curtain on Bollywood itself: the cost of the biggest musical sequences, he said, can reach about $700,000. Famous scenes flashed on the screen one after another, and by the end of the session, the audience had become part of a Bollywood musical number, with the entire square dancing alongside Soparrkar to an Indian interpretation of...

Film Festival

Eurasian Film Festival in London Showcases Cinema from Central Asia and Beyond

The ninth edition of the ECG Eurasian Film Festival has concluded in London, bringing together films from Central Asia, the Caucasus, and the wider post-Soviet space. The festival, held in partnership with the Romford Film Festival, was created to promote Eurasian cinema in the English-speaking world and connect filmmakers from the region with international audiences and industry professionals. It is also listed by FestivalFinder, the European Festivals Association’s platform for film festivals. The festival still gives filmmakers from smaller Eurasian film industries access to London audiences and industry professionals. Too often, movies from across Eurasia are framed through a narrow lens as “regional,” “political,” or useful mainly for their cultural differences. The London program suggests something broader. Its strongest entries were not simply statements about places, but stories about youth, memory, technology, art, identity, and imagination. This year, the top prize went to K-Poper by Iranian director Ebrahim Amini. The film follows a teenage girl who becomes fascinated by a Korean pop star and dreams of traveling to Seoul, despite her mother’s opposition. It is a story rooted in Iran, but its subject is immediately recognizable: pop culture, generational tension, and the private worlds young people build for themselves. Other winners showcased the range of the program. The animation prize went to Swiss photographer Bellopropello for a film about the way smartphones are reshaping human behavior. Best Documentary was awarded to Russian director Vladimir Sumashedov for a film about an artist who tries to confront the violence of World War II through art. The Best Book Trailer award went to Armenian writer Elena Aslanyan’s The Gold of the Aryans. Central Asian works also formed a key part of the selection. The Uzbek film Batyr Zakirov & Frank Sinatra: The Meeting That Could Have Happened... won the Audience Choice Award, imagining a cultural encounter between the Soviet East and American popular music. Kazakhstan was represented by Saule Rysbaeva’s Children, the Seeds of the Future, while Uzbekistan’s Legends of the Great Silk Road revisited the region’s cultural inheritance through animation. The value of festivals like ECG is not only in the awards. It is in giving audiences a chance to see Eurasian cinema as cinema first: varied, ambitious, and fully part of the global film conversation.

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...