LITTLE MASTERPIECES OF CENTRAL ASIA

The retrospective, that assembles four films characterised by the absence of the word as well as by the force of the story, shows a central Asia movie production that attempts to understand herself by going back up to cinema origins, on one hand, such as the silent cinema or even the shadow theatre (it is what happens in Bus Stop by Aktan Abdykalykov and Ernest Abdyjaparov), and, on the other hand, to soviet cinema (we cannot avoid to think about Vertov when we see The Sparrow by Ernest Abdyjaparov or at the cinema of the sixties when we see Silent Coolness by Serikbol Utepbergenov). At the same time this movie production creates a new relationship between central Asia cineastes and the great authors of the absurd from the twentieth century.

Eugenie Zvonkine