TCA Interview: Kazakh Director Venera Kairzhanova on the Bravery of Children with Special Needs
November saw the premiere of Venera Kairzhanova’s debut feature film, Second Mother. The documentary centers on the Meyirim rehabilitation center for children with developmental disabilities. But the film is more than a social chronicle; it’s a warm and luminous portrait of people who help children explore the world every day. Step by step, movement by movement. Kairzhanova spoke with The Times of Central Asia about the making of the film. TCA: Venera, congratulations on the premiere. How did you feel seeing your work on the big screen? Kairzhanova: It was very exciting, but everything went smoothly in a warm, friendly atmosphere. The film was well received, and the theater was full. The audience included employees of the Meyirim center, parents, media representatives, and industry colleagues. The first private screening was back in September, but it was in a small theater with limited guests. This time, it was a huge hall with lots of people, a completely different experience. What’s interesting is that when the project is finished and you watch it with the audience, you see it not just as a director, but also as a viewer. TCA: The audience cried. Did you? Kairzhanova: Yes. At the first screening, very much so. At the second, the emotions were a bit less intense, but the material still moves me: stories about the children, their teachers, their victories. After the screening, people came up to me to share their impressions and that was incredibly valuable. It’s important when a film is not just watched but really touches people’s hearts. [caption id="attachment_39501" align="aligncenter" width="300"] @Galiya Baizhanova[/caption] TCA: Working with children is always a special process. How did you prepare? Kairzhanova: Honestly, I didn’t prepare specifically. I arrived early, observed the classes and that was it. I was nervous, of course, because I didn’t know how the children would react to the cameras, lights, and equipment. But everything went surprisingly well. The children turned out to be incredibly open and sociable. They weren’t shy about the cameras; on the contrary, they played around and looked straight into the lens. Everything was so natural that we hardly interfered. We didn’t ask them to repeat anything or stage any shots. We just captured moments: in the dining room, during classes, and in their interactions. This project made me fall even more in love with documentary filmmaking, even though this is already my fifth documentary. TCA: Which episode was the most emotional for you? Kairzhanova: The film mainly focuses on the rehabilitation center’s educators. We filmed their daily routines: classes, meetings, celebrations. By the third day, everyone had gotten used to each other, and the atmosphere became very warm. One day, we filmed an individual session between instructor Anna Kosenko and a girl named Aisha. She was learning to walk with the help of an exoskeleton. Aisha, fragile, small, beautiful, was taking steps, and Anna was helping her. At one point, Anna asked, “Are you okay?” Aisha smiled and said, “Yes, I’m fine.” TCA: And you couldn’t...
