Ibragimov Usenjan Mominovich
Film director. Born on October 18, 1938, in the village of Ananyevo, Issyk-Kul District, Issyk-Kul Region of the Kyrgyz SSR in a family of a civil servant. After graduating from high school in 1956, he worked as a laboratory assistant at the Leningrad Polytechnic Institute and then at Construction Management No. 1 in Frunze. In early 1958, he became a student operator of combined filming at the "Kyrgyzfilm" studio. From October 1958 to September 1960, he was an assistant director at the Frunze Television Studio. For the next five years, U. Ibragimov studied at the directing faculty of VGIK in the workshop of Yuri Evgenievich Genik. Since August 1965, he has been involved in the artistic and production activities of the "Kyrgyzfilm" studio.
U. Ibragimov made his directorial debut with "Ancient Paths" (1966) — a documentary about the monuments of ancient architecture in Kyrgyzstan. His next attempt was a report sketch of everyday life in the film "Osh, Oshane, Sunday." The documentary film "Motive" (1966), made inventively with a precise and clear understanding of the essence of the creativity of the famous artist of Kyrgyzstan, Lydia Ilina, brought the director success.
The director devoted much time and effort to the newsreel "Soviet Kyrgyzstan." In the late 1960s and early 1970s, he produced sketches such as "Hunting Crossroads" (1967), "Singing Bowl" (1969), the feature film "On Kyrgyz Land" (1970), and the informational tape "Renewed Land" (1971). However, it was only the feature television film "The Tenant" (1968) and especially "Lava" (1970, special diploma at the festival of films about the working class in Gorky in 1971) that showcased U. Ibragimov's ability to vividly reveal the phenomena of reality and understand the characters of people.
The tendency towards deep psychological insight is associated with the production of feature films "By the Old Mill" (1972), "Smile on Stone" (1974), "Road to Kara-Kiyik" (1975), "Field of Aysulu" (1976), and "Amanat" (1978).
Member of the Union of Cinematographers of the USSR since 1970.
WORKS ON THE DIRECTOR'S CREATIVITY
"Amanat" — in the language of cinema. — "Evening Frunze," November 18, 1978.
Artyukhov O. When a reporter becomes an artist. — "Literary Kyrgyzstan," 1977, No. 2, p. 101.
Ashimov K. The screen of Kyrgyzstan tells. Moscow, Bureau for the Propagation of Soviet Cinematic Art, 1976, p. 61.
Barshay A. Echo of the past war. — "Evening Frunze," December 26, 1974.
Domagal'skaya N. "I believe in my heroes," — "Komsomolets of Kyrgyzstan," December 2, 1975.
Zlotnik O. The field going beyond the horizon. — "Soviet Screen," 1978, No. 22, p. 4.
And the most F. No one is forgotten. — "Soviet Kyrgyzstan," February 14, 1975.
Kiselyov N. "Lava." — "Lenin's Path," September 28, 1971.
Kotenko S. Details of life. — "Socialist Industry," September 12, 1970.
Kotenko S. The matter is in the beginning. — "Young Guard," 1971, No. 11, pp. 288-292.
Libedinskaya L. What's new in films about the village. — "Soviet Culture," October 3, 1978.
Mikhaylova L. No one is forgotten. — "Soviet Screen," 1974, No. 13, p. 8.
Mikhaylova O. The road to Kara-Kiyik. — "Television and Radio Broadcasting," 1975, No. 9, p. VII.
Pavlova I. Into the depths of the centuries. — "Soviet Kyrgyzstan," October 24, 1965.
Rudalev V. The lost smile. — "Soviet Screen," 1976, No. 5, p. 5.
Rudoy I. "Smile on Stone," — "Evening Frunze," July 20, 1974.
Stepanov L. "Road to Kara-Kiyik." — "Evening Frunze," July 26, 1975.
Yakutov D. "By the Old Mill." — "Soviet Kyrgyzstan," December 9, 1972.