– The head of the Kyrgyz gathering discusses its fourth edition, its role as a Central Asian industry hub, and the balance it strikes between commercial and auteur cinema
(© Bishkek International Film Festival)
We spoke to Bishkek International Film Festival (BIFF, 7-12 June) head Argen Adil Uulu about its ambitions, CAF Pitch, and the state of Kyrgyz and Central Asian cinema.
Cineuropa: Bishkek is still a young festival, but it is already positioning itself as a regional industry hub. What is the main ambition for this fourth edition?
Argen Adil Uulu: From the beginning, our objectives have stayed the same: to develop the regional film industry, foster international ties and co-productions, and raise the visibility of Kyrgyzstan and Central Asia within the global film community. Our priorities are institutional sustainability, consolidation and continued growth.
This year also marks the start of our monitoring by FIAPF, a milestone we are very proud of. Accreditation would be a breakthrough not only for our festival, but for the whole region. This year, we are hosting nine world premieres, which shows the trust BIFF has built regionally and internationally.
Where can Bishkek make the biggest practical difference for Central Asian cinema?
BIFF addresses gaps by acting as one of the most effective exporters of Central Asian film talent to the global market. Over the past three years, we have welcomed representatives from Berlin, Toronto, Busan, Rotterdam, Cottbus, Vesoul, Cairo, Dhaka and other major festivals. Several films that premiered or screened at BIFF have travelled further. IFFR selected Mergen by Chingiz Narynov and Legends of Eternal Snows by Alexey Romanov; Cottbus selected Ot by Radik Eshimov and Kyrgyzs on Mars by Nurlanbek Kamchybekov; and Vesoul selected Aykak by Kenzhebek Shaikakov. Programmers from these festivals are now following our line-up closely. Our next goal is to help films from the region reach not only festivals, but also streaming platforms, television and wider distribution.
What kinds of projects are you hoping to discover through CAF Pitch this year?
The main aims of CAF Industry, including its pitching and networking programmes, are to educate participants and help regional projects find reliable international partners and promotional resources. That is what our filmmakers need most. Over the past three years, 29 projects have been presented at CAF Pitch. Two completed films are now being shown in the International and Central Asian Competitions: Only Heaven Knows by Nurzhamal Karamoldoeva and Eles by Apolinariya Degtyareva. Three projects in their final stages will be presented in Bars in Progress: Pay the Bill by Asel Aushakimova, Warm Night, Cold Beer by Amir Amenov, and The Teacher by Ayan Nurdinov. Lola’s Song by Daler Rakhmatov is currently in production.
More than ten CAF Pitch projects have found partners in Europe and Asia. Our prize fund is growing, too: the Red Sea Film Foundation now gives out its own CAF Pitch Award and has become a permanent partner. We also invite representatives from funds and labs such as ARTE, SØRFOND, La Fabrique Cinéma and Aide aux cinémas du monde, the Nipkow Programm, the Red Sea Fund and WIPO Japan.
Why was it important to add Bars in Progress, a work-in-progress platform?
From the beginning, our festival has been conceived as an industry platform, so Bars in Progress is a natural next step after CAF Pitch. As we expand, we are also preparing to launch a Central Asian film market within the next three to five years. Bars in Progress helps films in their final stages connect with co-producers, distributors, festival programmers, sales agents and exhibitors. This is vital in a region where filmmakers often start thinking about promotion only once a film is finished. From networking, CAF Pitch and Bars in Progress to premieres and distribution, our goal is to support projects at every stage of the filmmaking cycle.
What does the KyrgyzBox section tell us about Kyrgyz audiences and national cinema?
Kyrgyzstan is now a vibrant, self-sustaining market, funded almost entirely by private investment, where local commercial dramas and comedies can capture up to 50% of the national box office and compete with Hollywood titles on the same screens. This is what I call a “micro-budget miracle”: a country of around seven million people can produce up to 70 commercial features a year, many of which recoup their costs domestically, without state subsidies. It has created a unique training ground where directors, cinematographers and screenwriters can practise constantly before moving towards auteur films and international co-productions. KyrgyzBox is therefore a bridge between domestic commercial success and the global market. It encourages local creators to move beyond “fast” content and develop films that can meet international standards. As the global industry moves towards “smart mainstream”, BIFF can help raise the industry’s level.
Is the current generation continuing Kyrgyzstan’s cinematic heritage, breaking away from it or redefining it?
The current generation is not simply continuing the traditions of the “Kyrgyz Miracle”; it is reinterpreting them. Filmmakers are combining historical scope and poetic magical realism with the dynamic language of contemporary mainstream cinema.
What misconceptions would you like the festival to challenge?
The main misconception is that Central Asian cinema is exclusively niche, festival-orientated arthouse content surviving on state subsidies. The reality is more complex. There is a commercial boom, but it exposes a serious imbalance: support for auteur cinema is declining, while institutional funding mechanisms increasingly prioritise full commercial return, mass-market content and tighter control over the creative process.
It is crucial to maintain the right balance. Auteur cinema should not be forced to compete directly with commercial films under harsh market conditions. It should develop as an essential part of the industry, with basic and grant support. Creating a protected environment for independent filmmakers is one of BIFF’s fundamental tasks.
