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...

How The New York Times Came to Publish an Obituary for Kazakh writer Mukhtar Auezov

While browsing old issues of The New York Times, we wondered: “Is there anything here about the Kazakhs or Kazakhstan?” One edition stood out, the June 28, 1961 issue. On page 35, alongside obituaries for several prominent figures, was one for our great writer, Mukhtar Auezov. [caption id="attachment_33412" align="aligncenter" width="378"] “Winner of Lenin Prize in 1959 for 2-Volume Work Dies Mukhtar O. Auezov, the Kazakh poet and philosopher whose two-novel work, ‘Abai’ and ‘The Road of Abai,’ earned a Lenin Prize two years ago, died yesterday in Alma-Ata.”[/caption] The article went on to note that Mukhtar Auezov was born and raised in the Shyngystau region (known today as the Abai District), and later wrote a major work about the life of Abai. It also mentioned that he studied at Leningrad University and authored numerous literary works. In 1960, Auezov visited several U.S. states as part of a Soviet writers’ delegation. Upon returning home, he expressed in interviews his admiration for the towering skyscrapers of New York City. What pleased us even more was that The New York Times included a photograph of Auezov alongside the obituary. This shows that even in the 1960s, American literary circles recognized and took notice of a Kazakh writer. In other words, Auezov left a lasting impression on the American public. Other articles about him may have appeared in the U.S. press, but so far this obituary is the only one we have been able to find. Mukhtar Omarkhanuli Auezov holds the distinction of being the first known Kazakh writer to set foot on American soil. His official visit was well covered by the U.S. press and known to the American public at the time. This likely explains why such a major publication honored him with a dedicated obituary, informing readers around the world of his passing. The gesture reflects a significant level of respect and recognition. Mukhtar Auezov indeed visited the United States from February 17 to March 17, 1960, as part of a delegation of Soviet writers. This trip was part of the “Agreement Between the United States of America and the Union of Soviet Socialist Republics on Exchanges in the Cultural, Technical, and Educational Fields.” According to the agreement, four American writers visited the USSR in 1959, and in return, a Soviet delegation traveled to the U.S. in February/March 1960. To give readers a closer look at his journey, we are sharing excerpts from Mukhtar Auezov’s diary, where he reflects on the trip. The entries were later published in a bilingual edition, Mukhtar Auezov: Impressions of America, in 2021, in both Kazakh and English. Below are a few details from Auezov’s impressions of the U.S.: That day we toured Washington, D.C. It’s a very beautiful city. No two houses look alike. Even the cars are all different, though there are many, they never repeat. We visited the old part of the city, the area known as ‘Georgetown.’ All the houses here are old, yet highly stylish, elegant two-story homes. There is one...