The theme of the first feature films about Kyrgyzstan, made before the war by Uzbek ("Covered Wagon," 1927) and Russian ("Aigul," 1936) filmmakers, is the slave-like, dependent position of women and their subsequent liberation.
In fact, the history of Kyrgyz artistic cinema began in the second half of the 1950s when the Frunze studio of chronicle-documentary films started producing feature films. The focus was primarily on the problems of emancipation and self-realization of Kyrgyz women. In 1955, in collaboration with "Mosfilm," the film "Saltanat" (directed by V. Pronin, starring B. Kydykeeva and M. Ryskulov) was produced, which achieved great success. The first independent film of the transformed Frunze studio of documentary and feature films (since 1961 - the "Kyrgyzfilm" studio) was "My Mistake" by I. Kobyzov (1957).
The late 1950s to early 1960s marked the emergence of Kyrgyz cinema on the international stage: its first films, which were later shown at international festivals and received awards, were made in Kyrgyzstan by L. Shepitko ("Heat"), A. Mikhalkov-Konchalovsky ("The First Teacher"), E. Shengelaya and A. Sakharov ("The Legend of the Ice Heart"), among others.
In the mid-1960s, the famous Kyrgyz quartet made a strong impression — M. Ubukeev, T. Okeev, G. Bazarov, B. Shamsiev. In 1964, M. Ubukeev directed the film "Difficult Crossing," about the tragic consequences of the popular uprising of 1916 (based on the story "Blizzard" by M. Elebaev), in which the spirit of the nation, its wisdom, and resilience during difficult trials were expressed for the first time in domestic cinema. T. Okeev, with his 1966 film "The Sky of Our Childhood," presented to the world the amazing existence of the Kyrgyz people: its uniqueness was perceived as something extraordinary. The core of the film consists of themes of attachment to native lands and the youth's aspiration for a new life. The actor M. Ryskulov created the most tragic image in Kyrgyz cinema here.
The creativity of Ch. Aitmatov played a significant role in the development of artistic cinema. Films based on his works by G. Bazarov ("Mother's Field," 1967), T. Okeev ("Red Apple," 1975), B. Shamsiev ("White Steamboat," composer A. Shnitke, 1975) and "Early Cranes" won awards at various international festivals.
Kyrgyz directors repeatedly turned to the works of other prominent writers: B. Shamsiev made his best film "Shot at the Karash Pass" (1968) based on the work of the classic of Kazakh literature Mauzov, as did T. Okeev with the film "Fierce."
Due to financial difficulties in the 1970s at "Kyrgyzfilm," alongside complex productions like "Scarlet Poppies of Issyk-Kul" by B. Shamsiev and "Bow to the Fire" by T. Okeev, films were made ("Street" by G. Bazarov, "Smile on the Stone" by U. Ibragimov, "Waterfall" by Yu. Boretzky, "Ak-Moyor" by T. Kasymbekov) that generated profit, allowing for the completion of more expensive films.
In the 1980s, films that achieved great audience success were made: "Descendant of the White Leopard" by T. Okeev (which received the "Silver Bear" at the West Berlin Film Festival in 1986), "Wolf's Pit" by B. Shamsiev, "Provincial Novel" by M. Ubukeev, "The First" and "Anomaly" by G. Bazarov. The last Kyrgyz film of the Soviet period is "The Mourner" by A. Suundukov on the theme of the repressions of the 1930s.
After 1991, the unified film production space collapsed: previously, the financing of all Soviet film studios was centralized, but after the collapse of the USSR, they lost their usual funding, and the number of films sharply decreased. Many filmmakers decided to create their own companies. By early 1994, there were 16 small private film enterprises in the republic — "Khan-Tengri," "Kelechek," "Meikin," "Salam-Alyk," "Manas-Ata," "Sedep," and others. Among their productions, notable feature films include: "Where is Your Home, Snail?" (film center "Kelechek," producer T. Okeev, director A. Abdykalikov), "Tenant" (studio "Meikin," producer and director B. Aitkuluev), "Train of Fools" (studio "Sedep," producer and director M. Baidzhiev), "The Seal of Satan" (studio "Manas-Ata," producer Yu. Toychubekov, director Z. Eraliyev), and others. By the beginning of the 21st century, the shooting of feature films ceased, as their production turned out to be unprofitable. Producers who did not transition to other fields reoriented to the production of documentary educational, advertising, and commissioned films on videotape for television.
During the peak of private film business, the greatest success was achieved by the company "Maek-film," founded in late 1992 by experienced organizers M. Abakirova and P. Eleferenko, which provided opportunities for young filmmakers to realize their ideas. In two years, two films were released, the first of which — "Selkinchek" (director A. Abdykalikov, 1993) — is of fundamental importance for the development of Kyrgyz cinema, as it opened a new chapter in its history. The film, shot based on the original idea of the author on location, without involving professional actors, tells about the difficult path a person goes through in their inner development — from "inauthentic existence" (according to Kierkegaard's theory of existence) to "authentic." Even in the late 1960s, T. Okeev in "The Sky of Our Childhood" showed the Kyrgyz as they knew themselves. The world then revealed the small people as something extraordinary among the diversity of life on the planet. "Selkinchek" exposed the inner state of the Kyrgyz primarily before themselves, showing that they are simple, naive, and straightforward, but at the same time mobile, curious, and inquisitive. The next film by A. Abdykalikov, "Beshkempir" (1998, "Kyrgyzfilm," private enterprise "Beshkempir") develops the same theme from another angle: deepening the existential conflict of the hero both with himself and with the surrounding world, and then his emergence, having gone through all circles of internal experiences, onto a clear conscious path. In May 2001, A. Abdykalikov's new film "Maymyl" (script by directors A. Adykulov and Tonino Guerra, "Kyrgyzfilm," studio "Beshkempir," "Noe Production," cinematographer H. Kydyraliev) first presented Kyrgyz cinema at the Cannes Film Festival in the non-competitive section "Un Certain Regard." "Maymyl" completed a trilogy about the "little man." The main role was played by M. Abdykalikov, who starred in his father's previous two films.
In early 2001, the premiere of the last Kyrgyz film of the 20th century "My Brother, Silk Road" ("Zhibek Zholu Adem", director M. Sarulu, "Kyrgyzfilm," art studio "Kumay," Kazakh firm "Kino," producer S. Gabdullin, 2000) took place, presenting a real situation from modern life, with its disarray and uncertainty, filmed in the traditions of classic European black-and-white cinema of the late 1950s to early 1960s. M. Sarulu also directed the films "In Hope" (1993, Kazakhstan) and "Man Dala" (1998, art studio "Kumay" with the support of the Medical Center of J. Nazaraliev).
During the flourishing years of Kyrgyz cinema, talented actors M. Ryskulov, B. Kydykeeva, S. Kumushalieva, A. Zhankorozova, B. Beishenaliev, S. Chokmorov, T. Tursunbaeva, A. Kuttubaev, O. Kutmanaliev, S. Jumadylov, G. Azhibekova, N. Mambetova, T. Nigmatullin, A. Temirova, D. Kydyraliev, D. Baitobetev, and others were featured.
Animation. In 1977, the famous film artist S. Ishenov created the first Kyrgyz animated film "Numbers Argue" (script by E. Borbieva). Among his other works are "Olokon," "Old Man Meke and the Black Giant," "Portrait," and "Tolubai-Synch," based on the eponymous poem by A. Osmonov (about which he made a biographical film "Akin" in 1988), which became one of the six best Soviet animated films shown at a renowned festival in the French city of Annecy. Directed by V. Belov, the films "Patterned Tale" (1981), "Dragon's Cave," "Magic Balm," and the first Kyrgyz animated film "Kookyor — Leather Vessel" (1987) were created. National themes were embraced by B. Jumaliev, who made "A Man Stronger than a Fortress," Sh. Zhekshenbaev — "How the Son Saved His Father," B. Jusupbekov — "One Day," "Kuyruchuk," and M. Sarulu — "Prayer for the Immaculate Bird." In 1986, Sh. Zhekshenbaev directed the film "The Theater of the Jester Rustam," distinguished not only by its philosophical content but also by its interesting visual solution. The children's theme was developed by D. Mukambetova ("Little Camel Topotoy"), U. Zhayloobaev ("Oh, These Parents," "Floating Apple"), and T. Musakeev ("Night Adventure"). Sharp contemporary issues were raised by A. Torobekov ("Whip"). In 1993, E. Guzairov began creating animated films at the "Kyrgyztelefilm" studio, the first of which, "Time of Heavenly Fish," illuminating the evolutionary processes in the infinite space of the Universe, had a good festival fate.
