TCA Interviews - The Times Of Central Asia

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TCA Interviews

Kazakhstani Cinema at a Turning Point: Screenwriter Sergey Litovchenko Discusses the Industry

Kazakhstani cinema may be entering a “golden age.” Kazakh films are increasingly appearing at international festivals, while television series are reaching major global streaming platforms and attracting millions of viewers. Yet the country has not broken through at the Oscars, and the reasons go beyond funding. Screenwriter and creative producer Sergey Litovchenko discusses the changes and challenges shaping the industry, why the pandemic unexpectedly benefited Kazakhstani cinema, and which projects he considers the most significant milestones to date. TCA: Sergey, the Oscars have just taken place. Will Kazakhstan ever win an Oscar? And when might that happen? Sergey: Our industry is developing rapidly, with the pace increasing every year. I believe we are close to that moment. However, it will probably come sooner in the short-film category. Although it may seem like an unattainable goal, that is not the case. Look at Brazil, for example, which has been prominent in the Oscar race for the second year in a row. Last year, the film I’m Still Here received three nominations and won an Oscar for Best International Feature Film. This year, Brazilian entries have already secured four nominations, including Best Picture. So anything is possible. At present, the main factor holding us back is technical capacity. TCA: The relatively low-budget film Sentimental Value won Best International Feature Film this year. Is technical prowess really the most important factor? Sergey: It is technically very well made. We should also remember that it participated in a major festival and featured Hollywood star Elle Fanning. The reason I mentioned the Brazilian example is that Brazilian cinema is not widely known to mass audiences, yet the technical quality and acting impressed me. It is clear they have the time and resources to prepare thoroughly for filming. For Kazakhstan, the situation is more complex. We often operate in a “we should have filmed this yesterday” mode. The only film to reach not just the shortlist but the nominations was Sergei Bodrov’s Mongol. It is a masterpiece of technical craftsmanship. Its $17 million budget is evident on screen. It is not only technically accomplished, but also a strong film artistically. There have been other worthy candidates: Sergei Dvortsevoy’s Aika and Tulpan, Yermek Tursunov’s Kelin, and Askhat Kuchinchirekov’s Bauryna Salu. All are high-level works. But for a major breakthrough, we need stronger production capacity. TCA: Is this primarily a question of money? Sergey: Not always. I often hear filmmakers say, “Give us a budget and we will make it happen.” I ask them how much they need, a billion? Two? Asghar Farhadi shot A Separation for $400,000. Andrey Zvyagintsev filmed The Return for about $300,000. So it is not only about money. Nor is it about casting, we have many talented people. To create a breakthrough film, you need not only a profound story but also extensive preparation and a certain uncompromising attitude, in a positive sense. In Kazakhstan, however, we often adapt films to circumstances. If the weather is unsuitable, we proceed anyway. If the actor...

TCA Interviews

How the Container Hub in Aktau Is Changing the Game on the Trans-Caspian Route

The Trans-Caspian International Transport Route (TITR) is experiencing rapid growth. Against the backdrop of geopolitical shifts and the restructuring of global supply chains, it is increasingly seen as a reliable alternative to traditional maritime routes. The next major step in its development will be the launch in 2026 of Kazakhstan’s first container hub in the port city of Aktau. The project is expected to accelerate cargo handling, create a full container infrastructure, and strengthen the competitiveness of the route as a whole. But will it be enough to elevate the corridor to the level of the world’s key transport routes? The Times of Central Asia sat down to discuss these important regional developments with Damir Kozhakhmetov, CEO of KTZ Express, the transportation and logistics subsidiary of Kazakhstan Railways (KTZ). TCA: The launch of the container hub at the Port of Aktau is scheduled for 2026. What stage is the project currently at? Are there already forecasts for handling volumes? DK: Construction of the container hub is proceeding according to schedule. The first phase of the project has already been completed: on December 25, 2025, the facility entered pilot industrial operation. The design capacity of the first phase is 140,000 twenty-foot equivalent units (TEUs) per year. As part of the project, a rail-track complex approximately three kilometers long has been built, a container yard covering 19,300 square meters has been created, and two modern rail-mounted gantry cranes with a lifting capacity of 41 tons each have been installed. The main loading and transport equipment has also been procured and commissioned. At the same time, supporting infrastructure has been developed, including roads, administrative and auxiliary buildings, engineering and utility networks, lighting systems, and perimeter security. Comprehensive testing of the process equipment is currently underway, and the terminal’s digital control systems are being configured. At the same time, the hub’s IT systems are being integrated with the digital infrastructure of the Port of Aktau to ensure operational transparency and reduce container processing times. Staff training and the refinement of production processes are also continuing during the trial-operation phase. Overall, the facility is steadily moving toward commercial operation, with commissioning work scheduled for completion by the end of March 2026. As for throughput, a phased ramp-up to design capacity is expected in 2026, with utilization increasing gradually. TCA: How will the launch of the container hub affect capacity utilization at Aktau itself? DK: We expect a significant synergistic effect. The project is primarily aimed at attracting additional container traffic, particularly within the TITR framework. This will allow for fuller and more efficient use of the port’s infrastructure. It is important to note that the development of port capacity is already aligned with projected cargo growth. Dredging work is underway in the port basin, while additional berths are being reconstructed and developed. Combined with the modernization of transshipment equipment, this creates the infrastructure reserve needed in advance. The container hub will operate in close cooperation with existing terminals, expanding the port’s logistics capabilities. This will...

Yerkinbek Ptyraliyev

From VHS Tapes to Cannes and the Academy: Kazakh Cinematographer Yerkinbek Ptyraliyev on His Craft

Kazakh cinematographer Yerkinbek Ptyraliyev has built an international reputation through his collaborations with director Adilkhan Yerzhanov. Their film The Masters, released in 2014, was selected for the Cannes Film Festival and later screened at major festivals in Venice, Berlin, and other international venues. In 2024, Ptyraliyev became the first Kazakh cinematographer invited to join the Academy of Motion Picture Arts and Sciences. In an interview with The Times of Central Asia, he spoke about the role of a cinematographer, the technical challenges of filming night scenes in the steppe, and why the Kazakh school of cinematography is increasingly recognized as a distinct brand. TCA: You recently returned from the Berlin International Film Festival, where your team’s new film, Adilkhan Yerzhanov’s Turghaud, was screened. What are your impressions? Yerkinbek: Very positive. Our film was received very warmly. There was an engaging discussion after the screening, and it is always valuable to receive immediate feedback rather than hearing reactions later. We sat in the theater and listened to what the audience was saying. It was especially interesting to hear their interpretations. There were many different perspectives. TCA: Does the perception of foreign audiences differ significantly from that of Kazakh audiences? When I watched the film, it seemed primarily aimed at a domestic audience. Yerkinbek: I think every filmmaker wants their work to be seen everywhere. I am convinced that cinema has no borders. This year, the Golden Bear at the Berlinale went to a Turkish film, a movie entirely in Turkish, about Turks and Turkey, but shot in Berlin. That did not prevent it from winning. Language and national context are not limitations; on the contrary, they are resources. We need to support them both in everyday life and in cinema. Adilkhan’s films are universal precisely because he speaks about issues that matter to any modern person. That is why they resonate beyond our own country. TCA: I remember receiving accreditation for the Cannes Film Festival as a journalist when Adilkhan Yerzhanov was invited there for the first time with the film The Hosts, which you shot. Did that open the door to major cinema for you? Yerkinbek: Absolutely. It was my debut film and such an immediate success. After that project, foreign directors began to notice me. For example, I started receiving invitations to work in Turkey, where I shot two contemporary dramas. The first passed relatively quietly, but the second attracted significant attention from Turkish audiences. It was directed by Nazif Tun. Until then, he had spent his career making television films and series, but that project was his feature-film debut. I watched his previous work, it was very close to cinematic language, even though he himself insisted it was television rather than cinema. TCA: Did you ever consider moving to Turkey? The market there is still larger than ours. Yerkinbek: No. In recent years I have not even had the opportunity to go there. First, the timing has not worked out. Second, not every story resonates with me. So far,...

Chocolate

How a Family-Run Mini-Factory in Almaty Ships Chocolate to Belgium and Switzerland

Nurlan and Zhaniya Orynbayev are Kazakhstani chocolatiers known for creating distinctive desserts inspired by national traditions. Their creations include sweet yurts, chocolate mountain landscapes, a chocolate version of the Kazakhstan Hotel filled with zhent (a traditional dessert made from roasted millet, butter, and honey), chocolate with kurt, and other culinary experiments. Nurlan is also a musician and a member of the Kazakhstani hip-hop group Dayinball. In an interview with The Times of Central Asia, the couple spoke about how the chocolate version of one of Almaty’s main landmarks was created, what sweets Kazakh consumers prefer, how to choose high-quality kurt, and how the global cocoa bean shortage has affected their business. TCA: Nurlan, you are sometimes called the “Kazakh Willy Wonka.” It seems you were among the first chocolatiers in Kazakhstan. How do you feel about that? Nurlan: In fact, my wife Zhaniya was the one who started our chocolate business. She was the first to learn confectionery techniques and how to work with chocolate, and then she taught me. I simply began posting videos of the process on social media, and they became popular. Now the brand is often associated with me, but the real mastermind behind the project is Zhaniya. She develops all the ideas and recipes. Our coffee shops, our confectionery line, the brand image, and at least 60% of our products are thanks to her. TCA: So is Zhaniya the driving force behind your chocolate mini-factory? Nurlan: You could say that. She has a deep understanding not only of confectionery but of gastronomy in general. She can taste a dish and almost break it down into its components, what has been added and which ingredients work well together. I did not have that kind of intuition. I had never worked with food or desserts before. But gradually I became more involved and began to understand the process better. TCA: Zhaniya, you are said to have come up with the chocolate shaped like the Kazakhstan Hotel. Tell us about it. Zhaniya: Yes, that was my idea. It is a chocolate structure weighing about 130 grams, made in the shape of the famous hotel. We produce it in both milk and dark chocolate. We experimented with fillings for a long time, but eventually settled on zhent, a traditional Kazakh dessert made from roasted and ground millet with butter and sugar. Customers really like it. TCA: You used to make this dessert only for Nauryz, but now you produce it year-round? Zhaniya: Yes, and it happened almost by accident. Once, a restaurant critic connected with the World’s Best Restaurants ranking visited us. We treated her to various chocolates, but she liked the chocolate with zhent the most. She wanted to buy more, but we had run out. We did not want to disappoint her, so we urgently decided to make a new batch and began searching for good talkan, one of the ingredients in zhent. We found it and quickly prepared everything. The process was quite chaotic. Our daughter...

Frankfurt Book Fair

Frankfurt Book Fair Director: Kazakhstan Could Become Future Guest of Honor

In recent years, Kazakhstan has become increasingly active at the Frankfurter Buchmesse, the Frankfurt Book Fair. Each year, a national stand brings together publishers and literary institutions that engage with international partners and expand professional networks. Participation in this global event has supported a range of initiatives aimed at introducing Kazakh literature and culture to a broader international audience. On this occasion, we spoke with Juergen Boos, Director of the Frankfurter Buchmesse, about opportunities for entering the global publishing market and the significance of becoming a Guest of Honor at the Frankfurt Book Fair. TCA: As the world’s largest book fair, what new mission or direction is the Frankfurter Buchmesse pursuing today? Juergen Boos: Frankfurter Buchmesse today serves not only as the world’s leading marketplace for rights and content but also as a global platform for cultural exchange and professional dialogue. In a rapidly evolving geopolitical and technological environment, our mission is to strengthen international publishing networks, uphold freedom of expression, and facilitate sustainable cooperation across regions. We aim to connect established and emerging markets alike, encouraging long-term partnerships that extend well beyond the fair itself. TCA: What major changes have you observed in the global publishing industry in recent years? Juergen Boos: The publishing industry is undergoing significant structural transformation. Digital distribution channels, audio formats, evolving licensing models, and the growing application of artificial intelligence are reshaping the sector. At the same time, we are witnessing gradual diversification in the global publishing landscape. Regions that previously had limited international visibility are increasingly seeking engagement beyond their domestic markets. Central Asia is among those regions demonstrating a clear interest in strengthening its international profile, which adds valuable perspectives to the global literary conversation. [caption id="attachment_45243" align="alignnone" width="300"] Photo credit: Frankfurter Buchmesse[/caption] TCA: How are digital technologies and artificial intelligence transforming the book market? Juergen Boos: Digital technologies and AI are influencing translation processes, metadata management, copyright issues, discoverability, and market analysis both positively and negatively. On the positive side, AI can increase efficiency and expand access to content. We are already seeing AI evolve from an experimental tool into an integral part of everyday publishing practice. For me, however, literature remains fundamentally human in its origin and intention. Storytelling, cultural nuance, and intellectual depth cannot be automated. The key challenge for the publishing sector lies in integrating technological innovation responsibly while preserving creative integrity and editorial independence. TCA: Can literature help strengthen mutual understanding between nations? If so, how? Juergen Boos: Yes, I believe it can. Literature allows readers to understand other societies through lived experiences rather than political abstractions. Through translation and international circulation, books foster empathy and cultural literacy. Book fairs provide a structured professional framework for such exchange. They enable sustained relationships between publishers, authors, and institutions, thereby contributing to long-term cultural understanding. TCA: Has the importance of books and cultural dialogue increased in today’s geopolitical climate? Juergen Boos: In times of uncertainty and polarization, the role of thoughtful cultural dialogue becomes even more significant. Books create...

TCA Interviews

Can Special Economic Zones Become a Driver of Economic Growth in Kazakhstan?

Kazakhstan currently has 17 special economic zones (SEZs) operating across 14 regions, three of which were created in 2025. How effective is this tool for attracting investment, reducing import dependence, and developing exports? And how will the SEZ model evolve within the framework of the Single Coordination Center? Yerlan Kusainov, Deputy Chairman of the Board of JSC Kazakhstan Center for Industry and Export “QazIndustry,” discussed these issues with The Times of Central Asia. TCA: Kazakhstan currently has 17 SEZs. How many companies operate in them, and what is the total volume of production? Kusainov: There are 1,144 participants registered in SEZ territories. Of these, 558 projects are already operational, while another 586 are in the implementation stage. Since the establishment of the zones, enterprises have produced goods worth 13.9 trillion tenge (about $28 billion). The current occupancy rate of the SEZs is 42.4%. This indicator is dynamic and may change as new contracts are signed or as some participants cease operations. TCA: What types of products are manufactured in the SEZs, and how does this contribute to reducing import dependence? Kusainov: The SEZs cover a wide range of industries, including manufacturing, construction, transport and logistics, and tourism. For example, the Aktau Seaport SEZ is implementing projects in the chemical industry, including the production of caustic soda and hydrochloric acid by Topan Chemical Industries. These products are widely used in metallurgy, the oil and gas industry, and water treatment. Previously, a significant portion of such products was imported, but production is now being localized in Kazakhstan. A major petrochemical cluster is being formed in the Jibek Joly SEZ. Projects there include the production of mineral fertilizers, chemical reagents, and polymer products. Participating companies include HIM-plus, KPM Plast, Chemical Engineering, and C9 Technologies. These projects are expected to supply the domestic market while also supporting exports. In the Pavlodar SEZ, projects are being implemented in metallurgy and petrochemicals. These include the production of calcined petroleum coke by UPNC-PV, car wheels by Vector Pavlodar, and aluminum ingots and alloys by LeichtMetall KZ and Unimetals. These products are exported to markets in Europe and Asia. The Ontustik SEZ focuses on the textile industry, where a full cotton-processing cycle has been established, from raw materials to finished products. Enterprises there produce cotton and synthetic yarn, carpets, and other textile goods. Another important site is the Park of Innovative Technologies SEZ, where projects in digital technologies and electronics are being developed. Key participants include the Institute of Physics and Technology, KT Cloud Lab, which is building a data center, and DS Multimedia CA, which manufactures electronic components. Together, these projects contribute to reducing import dependence and building export-oriented industries. TCA: What is the export volume of SEZ enterprises? Kusainov: The total export volume from SEZ enterprises has reached about $2 billion. In 2025 alone, exports amounted to approximately $490 million, compared with $148 million in 2021, an increase of 231%. TCA: How much investment has been attracted through the SEZs? Kusainov: Over the entire period of...