The Mischievous Boy 1978
The Mischievous Boy — "Shum bola", a film on the eponymous story of Gafur Gulyam about the adventures of a little boy, whose restless character makes him different people and life situations.
The Mischievous Boy — "Shum bola", a film on the eponymous story of Gafur Gulyam about the adventures of a little boy, whose restless character makes him different people and life situations.
A wealthy man hires two bodyguards, one a former paratrooper (Qodirov) and the other just released from prison (Soipov), to protect his two daughters, Gulnoza (Ashurboeva) and Dilnoza (Eshonqulova). Whilst at first the girls are reluctant to accept their fate, they soon realise how lucky they are to have the two young men in their lives…
Mukhabbat, an Uzbek immigrant, works at a convenience store on the outskirts of Moscow. Just like the rest of the immigrants at the store, she is forced to work without getting paid and endure mental and physical abuse, until she overcomes her fear one day and takes her fate into her own hands.
Our four dear friends are about to graduate from school and start a big life. Khurshid is studying at a medical university, Hamdam is returning from the army, Jawahir is trying to earn money by pawning on the street, and Bakhtiyar is working under his father. They all still love Lola.
An agent of the Uzbek special services, Timur Saliev, is conducting an operation to seize the Scorpion terrorist group when he learns that his brother, whom he considered dead, is alive and belongs to this very organization.
Two barbarians in the desert find a stranded white woman and regard her as their property. A strange and exotic parable that presents a tragic three-cornered relationship in a politically incorrect and ironic way.
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.
The 'super kelinchak' has found her place as a wife and mother yet is as feisty as the mother-in-law who taught her how to become the perfect daughter-in- law...
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...
A Romeo & Juliet-esque tale set in Uzbekistan.
After the death of her husband, Zulfiya Zakirova alone raises five sons and a daughter. The Second World War begins. Zulfiya's five sons are sent to the front.
Doniyor has the supernatural power to heal seriously ill people with incurable pain. Thanks to his ability, not a single sick person remained in his village. Shuhrat Shodmonov, a big businessman from Tashkent, comes to him and asks him to treat his granddaughter.
Since Fatima and Zuhra's brother did not come home one day, Fatima is worried and goes outside to look for him. Then, the street thugs kidnap and rape Fatima. Fatima commits suicide.
Images of Uzbek folklore permeate the author's story with the motif of trauma. She connects the reflection on self-acceptance and awareness of one's own strength with cultural self-determination and the need for personal and collective resilience. The narrative, woven from themes of traditional Uzbek culture through materials drawn from a variety of sources including archival Uzbek films and photographs, unfolds in an evocative sound design.
Tengiz marries Madiyar, an only child, and is forced to conceive within a month of their marriage. At her mother-in-law’s insistence, she hops on a train to go to the hospital and visit her parents along the way. There she learns that the train vendor Anargul and Madiyar may be having an affair.
According to a central Asian tradition, the younger brother is responsible for the wife of his brother in his absence. So 13-year-old Jamshed is too. Lack of work made his brother leave for the West to earn money. Jamshed does what he should do, even though he dreams of things that boys of his age much prefer to do. He regards his sister-in-law and his duty to her as a burden.
Documentary film “Shukhrat Abbasov. Close-up" is dedicated to the memory of People's Artist of the USSR, film director Shukhrat Abbasov (1931 - 2018). Friends and colleagues of the Master (Ali Khamraev, Elyer Ishmukhamedov, Valentina Gushchina, Shavkat Abdusalamov, Maxim Pavlov, Farrukh Zakirov, Odilsha Agishev, Vladimir Vorobey, Natalya Arinbasarova) share their contributions.
This is a passage between two faces, each the same, yet different. Bibicha’s face first appears in the dark, her eyes open and expression impassive, only her heavy breathing betraying the strain she feels. She will withstand the strain and take the vow of silence, retreating to her grandmother’s house for the 40 days to pass. The house and the landscape outside at least offer Bibicha certain sensory distractions: the taste of honey, the texture of a wall, an eye-catching bedspread, the view out over a sea of cloud, water fizzling on the stove. But it is not just her under strain, as her aunt’s frantic text messaging, her grandmother’s rueful acknowledgement of the stories of marital strife on the radio and her little cousin’s illegitimate status bear witness to. Four generations of women in the complete absence of men, yet all marked by their presence, the similarity of their fates blurring together different times and customs.
In the cities of Central Asia and Russia, the indomitable Fatima barrages , committing one crime after another . The Prosecutor's office investigator Pyotr Yerozhin gets in her way , not yet knowing how this investigation will be closely intertwined with his own fate.