Radzhab Adashev

Молодые парни из разных социальных слоёв, у некоторых из которых криминальное прошлое, призываются в воздушно десантные войска. Сержант Алексей Буров (Алексей Серебряков) назначен командиром отделения взвода новобранцев. Именно он прививает неопытным «сынкам» навыки рукопашного боя, взаимовыручки и армейской смекалки в проводимых учениях. И вот настал день боевого крещения. Подразделение десантников получает приказ помочь пограничникам обезвредить крупную банду наркоторговцев, пытающихся нелегально пересечь границу...

Considering that Musakov’s Abdulladzhan (1991) was dedicated to Steven Spielberg, we might suggest that these four boys embody nothing more complicated than a conflict of youthful innocence with some ominous threat—the basic workings of E.T. (1982) or War of the Worlds (2005), say. That threat, however, is best understood not through vague nationalism or warmed-over socialism, but through the other reference-point of Abdulladzhan—Tarkovskii’s Stalker (1980). Musakov leaves his boys in a simplified radiance so bright and so overexposed that it no longer looks like the skies of sunny Tashkent, but a disturbing, borderless luminosity to match the flat tonal range of Stalker’s “Zone.” Our Uzbek boys are nowhere in particular; this is a broader domain than anything international.

A young doctor serving cotton growers goes to the city. On the highway, when trying to overtake a motorcade, the traffic police stops the car. The events that take place next are an accurate and witty model of a life permeated through and through with absurd relationships, ridiculous demands and inexplicable prohibitions...

Timur is trying to prove to the relatives of his girlfriend and himself that he is worthy of their family. But Ulfat is married to another, after which the young go abroad. Timur graduated from the Institute and became the Director of a large car service…

A romance by Ali Khamraev with musical numbers interspersed

The boy Akmal, his girlfriend Guzal and the policeman find themselves in a fairy tale where they defeat the insidious and cruel khan, who took water from people.

The setting is Central Asia during the Russian civil war. In the post-revolutionary twenties, when the power in European Russia was (officially) "fully in the hands of the workers and peasants", but the fight against the Basmachi rebels was in full swing. When a Red Army detachment captures Sultan Mazar, the brains behind the Bazmachi contingent, a decision is made to escort urgently the prisoner to the Bukhara province. The difficult mission is entrusted to a grizzled mountain trapper and conscientious revolutionary called Mirzo. His expertise is essential to traverse the precarious paths and steep mountain ridges along the way, impossible terrain for the inexperienced. A group consisting of Mirzo, his brother Kova, the Sultan, his daughter Zaranghis and slave Saifulla set off on this journey. They are forced to fight on the mountain ridges as well as negotiate the natural dangers and harsh elements.

A Bolshevik army officer and Uzbek who has been nursed back to health by a young Uzbek woman to whom he is now married, gains responsibility for the local village in 1929. He is urged by comrades in Tashkent to have the local women drop their chadors and veils but he is also told that he should not force this on anyone. His wife declines to take off her veil, so a 14 year old girl steps forward to set the example, over the objections of the local Muslim clergy and most of the village men. After the girl is killed, and the commissar is shot, his wife takes him to the hills to nurse him back to health once again. She begs her husband to leave the village. Instead when he decides to return, she is pressured by her father to continue to wear the veil.

A desert-set war drama by Ali Khamraev