Ernest Abdyjaparov

키르키스스탄의 산골 마을에 사는 소년 젝신은 알코올중독인 아빠와 함께 살고 있다. 이혼 후 매일같이 술에 빠져 사는 아빠 대신 살림을 돌보는 젝신은 학교 보수공사비를 내지 못해 유급당할 처지이다. 체육 선생님에게는 운동복을 사지 못하면 수업에 참여하지 말라는 경고를 듣는다. 달리기에 재능을 보이는 젝신은 학교를 대표하여 대회에 나갔다가 우수한 성적을 거둔다. 그러나 여전히 아빠는 구제 불능이고 짝사랑했던 선생님은 연애 중이며 이혼한 엄마를 따라갈 수는 없다.

Centaur lives a modest life with his family in rural Kyrgyzstan until he abruptly becomes the center of attention when he is caught stealing a racehorse at night. A story inspired by the myth when horses became the wings of men.

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.

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.

키르기스스탄 고산지대에서 평생 목축을 하며 살아온 유목민 가족의 가부장 타빌리와 그의 부인 카라카츠. 이들은 불의의 사고로 아들을 잃고 며느리 샤이르, 손녀 움소나이와 함께 살고 있다. 어느 날, 마을에 기상 관측소가 설립되고 기상학자인 에르메크가 살게 되면서 평화롭게만 보이던 타빌리 가족의 삶에 변화가 찾아온다. 키르기스스탄의 대자연을 배경으로 전통을 지키고자 하는 신념과 피할 수 없는 현대화 사이에서 고뇌하는 유목민 가족 이야기.

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.

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.

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.

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.

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.

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.

Episodic portrait of the absurdities of Kyrgyz village life in the summer.

Episodic portrait of the absurdities of Kyrgyz village life in the summer.

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.

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.

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.

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.