Tursunboy Iminov

Since ancient times, on the vast expanses of Great Turan, there was a tradition of holding the folk game “kupkari” / goat‑tugging / in honor of the birth of sons. In addition to the ability to ride a horse, to be agile and brave, this game also instilled in future warriors such qualities as the ability to win and to be ready to defend their homeland… The film’s hero, the horseman Toshmurod, reveals his unique, humane character against the backdrop of the kupkari / goat‑tugging game. He lives happily with his beloved wife, Saodat, and their five sweet daughters. However, Toshmurod and his wife Saodat have a dream, and they live in anticipation of it. The action in the film “Chavandoz” escalates rapidly. Toshmurod’s childhood friend, Beshim, becomes his enemy and rival in the ulak / goat‑tugging competition/, and deprives him of his beloved horse. In the struggle against baseness and betrayal, Toshmurod ultimately emerges victorious.

Despite the restoration of Soviet power in the area, Basmachis continue to arrive from across the border, bringing death and destruction to peaceful villages. One of the bands of rebels is led by Khairulla who is pitted against the militsiya (local militia) leader Maxumov. At first it seems hopeless for Maxumov as the rebels capture most of his men, winning them over to his side. He has only one strategy left; to give himself up, and try to explain to the people that Khairulla has deceived them, turning the soldiers back to revolution. Later in pursuit of his enemy, he chases Khairulla across a river. He has only one bullet left -- the seventh, and he must not miss his target!

Considering that Musakov’s Abdulladzhan (1991) was dedicated to Steven Spielberg, we might suggest that these four boys embody nothing more complicated than a conflict of youthful innocence with some ominous threat—the basic workings of E.T. (1982) or War of the Worlds (2005), say. That threat, however, is best understood not through vague nationalism or warmed-over socialism, but through the other reference-point of Abdulladzhan—Tarkovskii’s Stalker (1980). Musakov leaves his boys in a simplified radiance so bright and so overexposed that it no longer looks like the skies of sunny Tashkent, but a disturbing, borderless luminosity to match the flat tonal range of Stalker’s “Zone.” Our Uzbek boys are nowhere in particular; this is a broader domain than anything international.

The Cheka officers are conducting an operation to return the gold that the Basmachi plan to exchange for weapons.

Young guys from different social strata, some of whom have a criminal past, are called up to the airborne troops. Sergeant Alexey Burov (Alexey Serebryakov) was appointed commander of a platoon of recruits. It is he who instills in inexperienced "sons" the skills of hand-to-hand combat, mutual assistance and army savvy in the ongoing exercises. And now the day of baptism of fire has come. A unit of paratroopers receives an order to help border guards neutralize a large gang of drug traffickers trying to illegally cross the border...

Based on the story by U. Nazarov "Audacity".

For many years the great Emir of Bukhara has not known happiness - he has lost the taste to delightful khalva, and now life is as sour as a lemon for him. The house of poor pot-maker Shir-Mamed, however, is full of happiness - his little son Hodzha Nasreddin has been born. Rumours have spread about his unusual abilities - maybe he will be able to make the Emir happy again?

A biopic of Nadira, outstanding Uzbek poetess and public leader of XIX century, mother of Kokand ruler.