Writer
Jekshen es un niño de 12 años excepcional en el campo de la carrera, quien reside en un hermoso pueblo montañoso de Kirguistán. Lamentablemente, sus padres se han separado y actualmente vive con su padre alcohólico, lo cual ha hecho su vida bastante complicada.
Writer
En los barrios pobres de la capital de Kirguistán, Bishkek, Centaur de cincuenta años, vive tranquilamente con su esposa e hijo. Antes él era un ladrón de caballos pero ahora lleva una vida tranquila. Un día, Satyr llega a su casa y le reta a robar los famosos caballos de una personalidad muy conocida de la ciudad poniendo de nuevo a Centaur en el centro de atención de todo el barrio.
Screenplay
In 1957, Chinghiz Aitmatov, a young Kyrgyz student from the Moscow Literature Institute, destined to become one of the great writers of our time, arrives at a Kyrgyz village to receive the blessing of Sayakbay Karalayev, the famous narrator of the epic poem Manas. Looking back upon his life, Sayakbay recalls a number of historical events which took place throughout Kyrgyz and Soviet history.
Director
In 1957, Chinghiz Aitmatov, a young Kyrgyz student from the Moscow Literature Institute, destined to become one of the great writers of our time, arrives at a Kyrgyz village to receive the blessing of Sayakbay Karalayev, the famous narrator of the epic poem Manas. Looking back upon his life, Sayakbay recalls a number of historical events which took place throughout Kyrgyz and Soviet history.
Writer
A family of nomads lives in the remote high mountains of Kyrgyzstan...
Producer
It is a rainy day in the far-distant 1960s. A lone taxi stands outside a telephone booth at the bus station in the city of Frunze, waiting for passengers. The taxi pulls out only when full or if someone pays for the entire car. Everyone who approaches the taxi tries to place a call to a loved one, and thus we learn different stories. One passenger, Zoja, is escaping to her parents’ house, fleeing her husband who is cheating on her with a friend of hers. Two passengers who are in transit are debating about a classmate, Muhtar and his wife Mahabat – will he recognize them, welcome them into his house as late-night guests. The discussion blossoms into a true drama. The taxi driver makes a call home, too, to say good-bye to his wife and ask what to bring his newborn son from far-off Osh. During the night, we learn about the tragedies and joys of the passengers and phone booth users.
Writer
It is a rainy day in the far-distant 1960s. A lone taxi stands outside a telephone booth at the bus station in the city of Frunze, waiting for passengers. The taxi pulls out only when full or if someone pays for the entire car. Everyone who approaches the taxi tries to place a call to a loved one, and thus we learn different stories. One passenger, Zoja, is escaping to her parents’ house, fleeing her husband who is cheating on her with a friend of hers. Two passengers who are in transit are debating about a classmate, Muhtar and his wife Mahabat – will he recognize them, welcome them into his house as late-night guests. The discussion blossoms into a true drama. The taxi driver makes a call home, too, to say good-bye to his wife and ask what to bring his newborn son from far-off Osh. During the night, we learn about the tragedies and joys of the passengers and phone booth users.
Director
It is a rainy day in the far-distant 1960s. A lone taxi stands outside a telephone booth at the bus station in the city of Frunze, waiting for passengers. The taxi pulls out only when full or if someone pays for the entire car. Everyone who approaches the taxi tries to place a call to a loved one, and thus we learn different stories. One passenger, Zoja, is escaping to her parents’ house, fleeing her husband who is cheating on her with a friend of hers. Two passengers who are in transit are debating about a classmate, Muhtar and his wife Mahabat – will he recognize them, welcome them into his house as late-night guests. The discussion blossoms into a true drama. The taxi driver makes a call home, too, to say good-bye to his wife and ask what to bring his newborn son from far-off Osh. During the night, we learn about the tragedies and joys of the passengers and phone booth users.
Editor
Pure Coolness (Kyrgyz: Boz Salkyn) is a 2007 film by Kyrgyz director Ernest Abdyjaparov. Asema, a Kyrgyz city girl wisiting her boyfriends family in the countryside, is mistaken for a villager and accidentally kidnapped by Sagyn, a young shepard who was too shy to ask the young girl for marriage.
Screenplay
Pure Coolness (Kyrgyz: Boz Salkyn) is a 2007 film by Kyrgyz director Ernest Abdyjaparov. Asema, a Kyrgyz city girl wisiting her boyfriends family in the countryside, is mistaken for a villager and accidentally kidnapped by Sagyn, a young shepard who was too shy to ask the young girl for marriage.
Director
Pure Coolness (Kyrgyz: Boz Salkyn) is a 2007 film by Kyrgyz director Ernest Abdyjaparov. Asema, a Kyrgyz city girl wisiting her boyfriends family in the countryside, is mistaken for a villager and accidentally kidnapped by Sagyn, a young shepard who was too shy to ask the young girl for marriage.
Writer
Episodic portrait of the absurdities of Kyrgyz village life in the summer.
Director
Episodic portrait of the absurdities of Kyrgyz village life in the summer.
Director
A puzzling fable about human relations inspired by Samuel Beckett (in Kyrgyz, beket means station). At a bus stop amid a snowy winter landscape, people wait. A boy, an adult, and an old man are at first joined by a woman, and then a disruptive drunk.
Writer
A puzzling fable about human relations inspired by Samuel Beckett (in Kyrgyz, beket means station). At a bus stop amid a snowy winter landscape, people wait. A boy, an adult, and an old man are at first joined by a woman, and then a disruptive drunk.
Director
A puzzling fable about human relations inspired by Samuel Beckett (in Kyrgyz, beket means station). At a bus stop amid a snowy winter landscape, people wait. A boy, an adult, and an old man are at first joined by a woman, and then a disruptive drunk.
Writer
The second film by Kyrgyzstani director Aktan Arym Kubat (then credited by his Russian name Aktan Abdykalykov), it is the first of his autobiographical Kurak ("Quilt") Trilogy, followed by Beshkempir (The Adopted Son, 1998) and The Chimp (2001). Идиллия детства, радости, игры разрушается с возвращением в маленькое горное село моряка. В прекрасный мир девушки, мальчика и юродивого врывается великолепная морская форма с клешами и бескозыркой, и волшебная морская ракушка - источник всех их будущих бед.
