CineCrossroads: Five films to celebrate Kazakh cinema

Angel in a Tubeteika (1968)

We begin with one of the most beloved romantic comedies in Kazakh cinema.

Directed by Shaken Aimanov, Angel in a Tubeteika follows Tailyak, a kind but unmarried geography teacher whose energetic mother is determined to find him a suitable bride. Her matchmaking efforts lead to amusing misunderstandings, while Tailyak unexpectedly falls in love with Aisha.

Filled with memorable songs, gentle humour and affection for its characters, the film captures the warmth of everyday life in Soviet-era Kazakhstan. More than half a century after its release, it remains a comforting classic about love, family and the sometimes overwhelming care of parents.

My Name is Kozha (1963)

Few films portray childhood with as much honesty and charm as My Name is Kozha.

Directed by Abdulla Karsakbayev and based on Berdibek Sokpakbayev’s novel, the film centres on Kozha, a curious and mischievous 12-year-old boy growing up in a Kazakh village. His restless nature frequently lands him in trouble at school, yet beneath his reputation as a troublemaker is a sensitive child with a strong sense of justice.

Warm, funny and sincere, the film never speaks down to its young protagonist. Instead, it explores the mistakes, dreams and first serious decisions that shape a child’s character.

The Trans-Siberian Express (1977)

For viewers seeking suspense, The Trans-Siberian Express offers one of Kazakh cinema’s finest adventures.

Directed by Eldor Urazbayev, the film is set in 1927 and follows intelligence officer Chadyarov, played by Asanali Ashimov. His mission is to prevent the assassination of a prominent Japanese businessman travelling to Moscow for trade negotiations.

Taking place largely aboard a moving train, the story combines espionage, action and political intrigue. Its controlled tension, atmospheric setting and charismatic central performance helped turn the film into an enduring favourite of the Kazakh screen.

Racketeer (2007)

Akan Satayev’s Racketeer marked a new chapter in Kazakhstan’s popular cinema.

The crime drama follows Sayan, a talented young boxer whose life changes amid the economic and social turmoil of the 1990s. Drawn into an organised criminal group, he gains money, influence and status, but every step deeper into that world carries an increasingly painful cost.

Told through Sayan’s own narration, the film presents crime without romanticising its consequences. Its stark portrayal of post-Soviet Almaty, loyalty and moral compromise resonated strongly with local audiences and established Racketeer as a modern Kazakh cult classic.

Bauryna Salu (2024)

The final selection brings the journey into contemporary Kazakh cinema.

Written and directed by Askhat Kuchinchirekov, Bauryna Salu follows 12-year-old Yersultan, who was given to his grandmother as a baby under the traditional practice that gives the film its name. After her death, he must return to his biological parents, people he knows as relatives but not as family.

Quiet and deeply observant, the drama examines belonging, emotional distance and the complicated effects of tradition on a child. Its restrained storytelling allows gestures, silences and rural landscapes to communicate what the characters cannot express aloud.

Selected to represent Kazakhstan in the international feature film category at the Academy Awards, Bauryna Salu demonstrates how national cinema continues to transform intimate Kazakh experiences into stories with universal emotional power.

You can read last week’s edition of CineCrossroads here.