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.
Police Major Golidze alone confronts a gang of gangsters, led by the notorious criminal Bagirov.
A man ends up in police custody after the death of a pimp who intended to kill a random female witness to his crime.
The family of the director of the state farm lives in a small Uzbek village. One day, the nephew of the mother, Sanjar, appears in this hospitable family. The kind and impressionable Sappho, observing his cousin's connections with a thieving company, draws unpleasant conclusions for himself and makes completely independent decisions...
Returning to his native village, a demobilized paratrooper learns that his brother has become a victim of a drug mafia. He decides to avenge his death and goes to the city...
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