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...
