Shankar M Ok
Kyrgyz filmmaker Dastan Zhapar’s work is a profound meditation on his society’s shifting relationship with the previous and the evolving panorama of Kyrgyzstan’s traditions. At the coronary heart of his cinematic exploration is demise, by way of which he examines societal ruptures and continuities, and reimagines a future.
Kyrgyz society, like different societies beforehand a part of the Soviet Union, has needed to take care of three traditions — pre-Soviet, Soviet socialist, and up to date.
Dastan made A Father’s Will in 2016 and Road to Eden in 2020, each in collaboration with fellow filmmaker Bakyt Mukul. A Father’s Will gained the Golden Zenith at the fortieth Montreal World Film Festival. Deal at the Border, screened at the current Bangalore International Film Festival, is Zhapar’s first independent work.
While A Father’s Will was about how reviving an outdated demise ritual helped pacify folks defrauded by a person now deceased, Road to Eden mirrored on the lack of that means brought on by materials compulsions of recent life. With Deal at the Border, Dastan turns to even darker realities — trendy slavery and human rights points. Death right here turns into a second of ethical reckoning.
As an amorphous repository of attitudes, practices, and relational hierarchies, a practice by no means really dies. In Dastan’s movies, two traditions reside inside the current — struggling for consideration and validation. The resonances of this exploration are inconceivable to overlook in India, slowed down by an identical contest between putative traditions.
Kyrgyz filmmaker Dastan Zhapar
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Special Arrangement
In an unique, Dastan shares his ideas on the many problems with concept, ideology and artistic expression. Excerpts:
Why is it that you simply query some traditions and attempt to restore respect for others?
It is true that I’m questioning some traditions, however I’m not looking for to revive respect for others. Things emerge in the strategy of scripting and filming. They beg to be projected on the display and I’m persuaded by this type of perception.
Death and the way folks reply to it appears to be a typical theme in all of your movies.
That is true. However, it was not by acutely aware design — it turned out that means. Death occupied centrestage and spliced three of my movies into an unintended trilogy. However, the concepts I’m now working on are about survival and the need for freedom.
A Father’s Will performs out a side of the Kyrgyz perspective to demise. People at a burial need closure. They need to settle for and forgive. Also, they wish to ask what sort of an individual the deceased was as a prelude to restoring dignity to the lifeless. These rituals serve to unite folks, particularly household, in instances of sorrow.

Kyrgyz filmmaker Dastan Zhapar throughout a shoot
| Photo Credit:
Special Arrangement
Why is the yurt (a conveyable, round dwelling, historically utilized by nomadic folks in Central Asia) so essential?
The Kyrgyz had a nomadic, cell lifestyle. The yurt naturally turned residence and a logo of household stability. It additionally represents the power of the nationwide collective, serving a fabric perform and as a non secular metaphor.
A Father’s Will seems to be primarily based on a e book written by a personality in The Road to Eden…
When Bakyt Mukul and I wrote the script for A Father’s Will, we thought it might be good to have a literary work related to the movie’s story. When we have been scripting for The Road to Eden, and got here up with the picture of the sick author Sapar, we thought he may write, for instance, a e book titled The Father’s Testament referring to our earlier movie. In this manner, we might have an imaginary creator for an imaginary e book on which our first movie had been primarily based. In this vogue, we have been in a position to thematically unite the two movies. The tales happen in the identical universe, identical moral ecosystem.

Kyrgyz filmmaker Dastan Zhapar
| Photo Credit:
Special Arrangement
What is your subsequent movie about?
I’m actively working on three concepts. One is the story of guards at the border of Kyrgyzstan and Tajikistan. Another is about trendy slavery.
Why is slavery a subtext of Deal at the Border?
Slavery has been on my thoughts for a very long time as I’ve been personally affected by it. My brother Aktan was enslaved in a neighbouring nation with our uncle. Luckily, they managed to flee. The script was written by Aktan and I.
While writing the script, I studied trendy slavery. I learnt that Kyrgyzstan ranks first amongst Central Asian nations whose residents are enslaved overseas, largely in Kazakhstan, Russia, Turkey and the UAE. According to the International Labour Organisation, greater than 50 million persons are at the moment enslaved worldwide and 70% of them are girls. These statistics are horrifying. We should convey this to the discover of viewers all over the place.

Kyrgyz filmmaker Dastan Zhapar throughout a shoot
| Photo Credit:
Special Arrangement
From what sources do you draw inspiration from?
Definitely from the Kyrgyz epic of Manas. It is a poem with greater than 1,50,000 verses. It is about the legendary previous of many countries of Central Asia, together with the Mongol, Kitai, and Altai.
Newspaper experiences typically present a place to begin for an episode. I’m additionally impressed by themes different administrators discover. The most essential factor is to pick the proper theme or story. The story should resonate in you. It should discuss with some piece of at present’s actuality or to a potential state of affairs in the future.
I favor to make movies about the rural and distant areas, although cities have their tales too. I trip the bus and observe folks as they journey and converse. I can study a lot about their troubles and what makes them completely satisfied. I dig into actual life materials so I can use them in my movies.
What are your ideas on Indian cinema?
I’m in awe of Indian movies screened at worldwide movie festivals — they take care of critical points in fascinating methods. I want to be concerned in a three way partnership with India someday in the future. The first Kyrgyz function movie was made in 1958, by which era Indian cinema was already in bloom.

Kyrgyz filmmaker Dastan Zhapar throughout a shoot
| Photo Credit:
Special Arrangement
Are you responding to any explicit filmmaking custom?
I like the picture of Duishen, the instructor created by Kyrgyz creator Chingiz Aitmatov in his novel First Teacher that was later made into a movie. Duishen brings information and information is gentle, pulling tens of millions of individuals out of the darkness of ignorance. Duishen had a fanatic religion in a brilliant future ushered in by literacy and training. Eventually that’s what led mankind to seemingly inconceivable issues corresponding to area exploration. I imagine such persons are in brief provide in our loopy world at present.
Published – April 23, 2025 02:14 pm IST