Don Quixotes of Kazakh cinema

In early May, the entire country was abuzz over the sudden departure of renowned Kazakh director Yermek Tursunov. Before slamming the door behind him, Tursunov, who once served as the head of Kazakhstan’s Union of Cinematographers, accused the Ministry of Culture and Information of oppression and persecution.

Filmmaker vs. social activist

The episode illustrates a broader trend: when local filmmakers shift from filmmaking to so-called «social activism,» it often devolves into an endless battle with metaphorical windmills.

Within the industry, it was no secret that Tursunov had long set his sights on the post of Minister of Culture. As early as 2018, he launched a behind-the-scenes campaign, ousting his predecessor Akhat Ibrayev to assume leadership of the Union of Cinematographers. He also lobbied the country’s leadership to approve a grand reconstruction plan for the Kazakhfilm national studio, despite wildly inflated cost estimates, and oversaw the Eurasia International Film Festival, all to present himself as an indispensable authority on cinema.

There’s nothing inherently wrong with ambition. Seeking power is not a crime. However, the methods he employed often left much to be desired. For example, he reportedly instigated pressure campaigns against former Minister of Culture Aktoty Raimkulova and Gulnara Sarsenova, ex-head of the KazakhCinema national cinema support center. In many ways, his abrupt exit appears to be the culmination of past missteps finally catching up with him.

Still, Tursunov is not the only «Don Quixote» in Kazakhstan’s film world.

Competition and backlash

A few years ago, another public organization emerged: the League of Cinematographers, led by director and producer Aidar Batalov.

Batalov’s creative résumé is notable, if not always successful. He made his feature debut in the last decade with the spy thriller «Oberon Conspiracy,» based on a script by Adilbek Zhaksybekov. The film premiered and was almost immediately forgotten. How a 25-year-old first-time director landed a big-budget production at the national studio remains a mystery.

From there, Batalov pivoted to bureaucracy. He first served as deputy chairman of KazakhCinema for production, then rose to vice president of Kazakhfilm. During his tenure, one unfinished project at Kazakhfilm suddenly resumed: «Call a Doctor,» a free remake of Shaken Aimanov’s classic musical comedy «Our Dear Doctor.» The project was directed by Batalov’s close friend, Ravil Trumov, who had never directed a feature film before. The movie screened once, at the opening of the 2024 Eurasia Film Festival, received harsh reviews, and was promptly shelved once again after languishing for nearly five years.

Much like Tursunov, Batalov launched his term as chairman by picking fights. His current targets include Tiger Films and the Kinopark & Kinoplexx cinema chain.

In his public remarks, Batalov claims that because Tiger Films is affiliated with a cinema chain, it creates obstacles for independent producers trying to enter the film distribution network. However, the numbers tell a different story.

Since 2021, when Tiger Films released its first movie, more than ten Kazakh films have grossed over 1 billion tenge at the box office. How many of those were produced by Kinopark, the cinema chain’s affiliated studio? Not a single one.

Could Kinopark’s management theoretically tilt the playing field by reducing screenings for competitors, giving priority time slots to their own releases or using other subtle tactics? Yes, such scenarios are possible in theory. But real-world examples suggest otherwise.

Take the New Year holiday weekend of 2023. On Dec. 27, three Kazakh films premiered: «Kazakh Business in Brazil» (directed by Nurlan Koyanbayev), «Dästür» (by Kuanysh Beisek) and «Bisharashki 2,» a Tiger Films production directed by Darkhan Sarkenov. Of the three, it was the Tiger Films entry that performed the worst. «Dästür,» a horror film, earned more than 1.7 billion tenge. The sixth installment of Koyanbayev’s comedy franchise brought in just over 1 billion, while «Bisharashki 2» grossed only about 300 million. Is this what unfair competition looks like?

Emerging Kazakh filmmakers

For years, the Kinopark & Kinoplexx cinema chain has helped launch the careers of emerging Kazakh filmmakers, many of whom went on to lead the national box office. Producers like Nurlan Koyanbayev, Ramazan Amantay, Kuralay Anarbekova and Dariga Badykova all found commercial success through partnerships with the country’s largest theater network.

Today, Tiger Films is collaborating with Kazakhfilm to help the national studio emerge from a prolonged crisis. Their first joint project is a sequel to the cult hit «The Tale of the Pink Hare.» A major historical epic «Kyz Zhibek» is scheduled to begin production next year and is expected to set a new standard for event films in Kazakhstan’s film industry.

Not everyone in the filmmaking community is happy with Tiger Films’ growing role. But ultimately there are only two paths forward: one can either continue tilting at windmills, hoping to avoid ending up in self-imposed exile on a Spanish coast (as Tursunov now finds himself — he left Kazakhstan for Spain) or one can focus on the work itself — creating compelling, competitive films and earning a place in the country’s cinematic legacy.