Kazakhstan-Based Actor Nyshanbek Zhubanaev on His Journey, Faith, and the Future of Cinema
Nyshanbek Zhubanaev is a professional actor, a graduate of the T.K. Zhurgenov Kazakh National Academy of Arts, and a rising star of series such as Sheker, 1286, and Munai. His path into acting, however, did not begin with red carpets or casting calls, but at a phosphorus plant. Taking a leap of faith to escape a life he describes as scripted by others, Zhubanaev pursued his childhood dream with persistence and conviction. In an interview with The Times of Central Asia, he reflects on his first steps in cinema, the role of faith, inner conflict, and why, for him, humanity matters more than talent. TCA: Your popularity came with the web series Sheker 2, 1286, and Munai. Two of them are set in the 1990s. Why do you think this decade continues to fascinate directors? Zhubanaev: It was a time of contrasts and complexity. When people say Munai romanticizes crime, I feel they’ve missed the point. It’s not about crime, it’s about the clash of personalities and how the oil business emerged in our country. The 90s serve as a backdrop. And in cinema, atmosphere is half the battle. As an actor, I want to be part of projects where that atmosphere is palpable. Whether it’s the 90s or another era doesn't matter. What matters is telling strong, vivid stories. TCA: What themes do you feel are missing in Kazakh cinema today? Zhubanaev: Our cinema is still developing, and there’s so much left to explore. People often say we lack films about love and relationships. We do have them, but not the kind you want to talk about seriously. And love is one of the hardest topics to portray, it leaves you no room to hide behind genre, action, or style. It demands talent. I read a lot, and I’m constantly amazed by the richness of Kazakh literature and history, and how little of it we bring to the screen. Take Mukhtar Auezov’s Karash Okigas, it’s a ready-made screenplay. During Soviet times, Kyrgyz director Bolotbek Shamshiyev adapted it, but today it deserves a modern retelling. TCA: You often cite literature as a source of cinematic inspiration. Zhubanaev: Absolutely. Look at Remarque’s All Quiet on the Western Front. Its recent film adaptation won an Oscar, though I found the film debatable. We have our own counterpart, Kazakh Soldier by Gabit Musrepov. Why not adapt that with a modern cinematic language? I also love the works of Beimbet Mailin. He’s an incredibly cinematic writer who remains relevant today. His Shuganyn Belgisi, written nearly a century ago, still speaks to issues like equality and the role of women in traditional society. As far as I know, Akan Satayev is currently preparing a film adaptation of Mailin’s Kulpash, the story of a woman who takes a desperate step to save her family during a famine. It’s powerful, dramatic material. The problem isn’t a lack of themes, it’s about who tells the story and how. You can create a visually perfect film and still fail...
