Arquivo

Anara Kobessov sends a letter to her husband, filmmaker Amir Kobessov. This is a love letter in which Anara describes a nightmare that is also to bring Amir sleepless nights: in a crowded movie hall, during the premiere of his film, a projectionist mixes up the roles of his film and begins to show scenes from a U.S. karate film. The audience becomes excited and refuses to continue watching Amir’s film. The news that Amir receives from his native town is equally unsettling. His mother is desperately ill and wishes to see him. Amir then leaves his wife and son in Alma-Ata, capital of Kazakhstan and sets forth on a long journey into his past. In this, his fourth feature, Kazaki Darejan Omirbaev once again causes a vivid impression through the delicacy of his human dramas, a characteristic inherited from the French Nouvelle Vague that led to his becoming known as the “Robert Besson of Central Asia”.