Kyrgyz’s filmmaker Dastan Zapar on his first independent work deal on the border

Shankar MK

The work of Kyrgyz’s filmmaker Dastan Zapar is deeply focused on the shifting relationship with the past of his society and the developed scenario of Kyrgyzstan traditions. His cinematic exploration is death in the heart, through which he examines social breakdown and continuity, and resumes a future.

Like other societies of the Kyrgyz Society, the first Soviet Union, the three traditions-pre-soverequation, Soviet socialist and contemporary have to be dealt with.

Dastan made A father’s wish In 2016 and Road for Eden In 2020, both fellow filmmaker Bakit Mukul. A father’s wish Golden Jenith won the 40th Montreal World Film Festival. Border dealRecently, Bangalore International Film Festival is the first independent work of Zapar.

Whereas A father’s wish Regarding that people who helped revive the ritual of an old death helped to calm the people washed by a person, who has now died, Road for Eden It is reflected at the loss of meaning caused by the physical compulsion of modern life. with Border dealDastan turns to even more deep realities – modern slavery and human rights issues. Death here becomes a moment of morality.

As a unaccounted reserves of approach, practices and relationships, a tradition never dies. In Dastan’s films, two traditions currently live – struggle for meditation and verification. The echo of this exploration is impossible to remember in India, which has collided with a similar competition among traditions.

In a particular, the squad shares his views on many issues of ideology, ideology and creative expression. Part:

It is true that I am questioning some traditions, but I am not trying to restore respect for others. Things emerge in the scripting and filming process. They begging to be estimated on the screen and I agree with such an insight.

This is correct. However, it was not by conscious design – it turned out to be like this. Death captured the Centrestage and divided my three films into an unexpected trilogy. However, the ideas I am now working on are about existence and desire for freedom.

A father’s wish One aspect of the Kyrgyz attitude plays for death. A buried desire is closed. They want to accept and forgive. In addition, they prefer to ask what kind of person the deceased was a preamble to restore dignity to the dead. These rituals work to unite people, especially the family in the time of sorrow.

Kyrgyz’s filmmaker Dastan Zapar during a shoot | Photo Credit: Special Arrangement

Kyrgyz had a nomadic, mobile way of life. Yart naturally became a symbol of home and family stability. It also represents the strength of the national collective, serves a physical work and as a spiritual metaphor.

When Bakat Mukul and I wrote for the script A father’s wishWe thought it would be good to do a literary work related to the story of the film. When we were scripting The Road to EdenAnd the ailing writer came with the image of Supper, we thought he could write, for example, from a book title Father’s will Mention of our previous film. In this way, we will have a fictional writer for a fictional book on which our first film was based. In this fashion, we were able to unite two films. Stories occur in the same universe, the same moral ecosystem.

Kyrgyz filmmaker Dastan Zapar | Photo Credit: Special Arrangement

I am actively working on three ideas. There is a guard story on the border of Kyrgyzstan and Tajikistan. Another modern slavery is about.

Slavery is in my mind for a long time because I have been personally affected by it. My brother Akatan was made a slave in a neighboring country with our uncle. Fortunately, they managed to escape. The script was written by Akatan and I.

While writing the script, I studied modern slavery. I came to know that Kyrgyzstan is ranked first in Central Asian countries, whose citizens are slaves abroad, mostly in Kazakhstan, Russia, Türkiye and UAE. According to the International Labor Organization, currently more than 50 million people worldwide are slaves and 70% of them are women. These figures are frightening. We have to bring it to the notice of the audience everywhere.

Kyrgyz’s filmmaker Dastan Zapar during a shoot | Photo Credit: Special Arrangement

Certainly from the epic epic ManaIt is a poem with over 1,50,000 verses. It is about the mythological past of many countries of Central Asia, including Mongol, Kitai and Altai.

The newspaper report often provides a starting point for an episode. I am also inspired by the subjects of detection of other directors. The most important thing is to choose the right subject or story. The story should resonate in you. It should refer to some pieces of today’s reality or the possible status of cases in the future.

I like to make films about rural and remote areas, although they also have stories in cities. I ride the bus and travel to people and travel. I can know a lot about their troubles and make them happy. I dig in real -life content so that I can use them in my films.

I am in the fear of Indian films released at international film festivals – they deal with serious issues in interesting ways. I would like to join a joint venture with India for some time in future. The first Kyrgyz feature film was made in 1958, by the time Indian cinema was already in the bloom.

Kyrgyz’s filmmaker Dastan Zapar during a shoot | Photo Credit: Special Arrangement

I like the image of a teacher created by Kyrgyz writer Chingiz Aitmatov in my novel First teacher It was later made in a film. Duishen brings knowledge and knowledge is light, draws millions of people out of the darkness of ignorance. In the bright future launched by literacy and education, Duishen had a staunch belief. Eventually, it inspired mankind to impossible things such as space exploration. I believe that such people are in less supply in our crazy world today.