After one of my numerous visits to the cinema, where I watched glorious movies from India, my grandfather Ziyadullo Shahidi – a famous composer who established the Tajik symphonic music, said: “Cinema is a certain school based on the idea of inattentiveness. However, the paradox is that the Indian method of “inattentiveness”, despite its triviality is less dangerous than others”. Such a “condescending” attitude of the older generation towards cinema was noticeable because of cinema’s mass and popularity during the Soviet era. Expectedly, it made an impact on me – and not only towards Indian cinema. However, times change, as do people, and as do the intellectuality / values / distinctiveness of cinema-images. I believe that Z. Shahidi would have liked the set of Asian movies which were presented at the International Moscow film festival (MIFF), and I doubt he would have repeated his thesis on cinema’s “inattentiveness”.
The majority of the Festival’s films were instructive and enlightening. Hence, I believe that there was a successful attempt to bring in a number of memorable Asian movies outside their national-regional borders and conventions. One can say with confidence that we are moving away from viewing Asian cinema as merely a reflection of “postcolonial production” and moving towards proclaiming it as an equal and as part of the Global cinema art.
The start of my career as an admirer of Asian movies was initiated not only by Indian movies. It was enhanced when I was invited to participate as a member of the NETPAC jury at MIFF (Moscow International Film Festival). NETPAC required us to have a certain professional knowledge about the cultures of Asia, an ability to view and critically analyze art production, and other criteria (such as fluency in the English language).
Something that had pleasantly surprised me and I find worthy of mention is that my country of origin – Tajikistan – was presented in an exceptional way at the festival. Although, unfortunately, no Tajik movies were screened, the NETPAC jury managed to bring together two representatives from Tajikistan: myself and a young gifted filmmaker – Sharofat Arabova.
Here I would like to share some thoughts on something I consider important: a positive image of one’s culture, in this specific case, Tajik, can be created during such events, even without new movies. In other words, one can make use of the resourcefulness of what has been produced. However, let us return back to the MIFF. I think it would be prejudicial if I begin to explain the diversity of Asian cultures to those who are already closely acquainted with them. Nonetheless, allow me to say (even if some of you may find it simplistic and trivial) that nationalism and neo-liberalism that have stormed into the former communist countries of Asia have raised a wave of dissatisfaction and protest.
None of the Asian movies screened at the Festival carried the cold post-modernist cynicism of Europe (this was also mentioned at the Opening Ceremony by MIFF President, Nikita Mikhalkov). It seemed to me that the neo-liberal agenda was left aside by the Asian filmmakers. They were concerned with profound sociocultural interpretations and the development of distinctive auras of “me”, “you” and “them”. Such setting diverges from the western interpretations of identity. Thus most of the movies (owing, I believe, to their unique Asian nature) represented an essential balance between art and life.
I would like to share my opinion of some of the movies that made a remarkable impact on me (the first two were conferred the NETPAC award).
• Arventur – Russia – dir.: Irina Evteeva
The best word to describe this movie is “innovative”. The filmmaker successfully and skillfully experiments with technique, plot, and main characters. This Russian movie promises to play a decisive role in the development of the cinema industry of the world.
• Being Good – Japan – dir.: Mipo Oh
The movie conquered me with the absence of any desire to reveal the answers to the given questions. The film basically expressed the idea that if every single question is answered, it will all turn into a pure advertisement. This movie shared its own vision and interpretation of life within an incredible Japanese frame.
• Taxi – Iran – dir.: Jafar Panahi;
Knowledgeable people (amongst them Hakki Kurtulus – a Turkish filmmaker and a member of the NETPAC jury) told me that Jafar Panahi is known as the representative of the “Iranian New Wave” of cinema industry (sinamai mavji nav). This circle has managed to distance itself from the pre-revolutionary groups (film-i Farsi).
Panahi’s Taxi proves and shows to the world the ability to think with one’s heart. I hope those who have watched this movie along with other productions of this brave filmmaker (such as The Mirror, The White Balloon and The Circle) will agree with my statement.
It was also noteworthy that despite the “deformed translation” (both Russian and English subtitles), the movie gained numerous fans. Fortunately, those of us who knew Farsi were able to grasp and enjoy all the nuances and neat intonations of the actors. The heartfelt sincerity and unpretentiousness had an impact on all of us. Incidentally, politics was rarely touched upon, which was also quite pleasant.
In general, all movies (including those mentioned and those not) from India, Iran, Vietnam, Kazakhstan, Indonesia, Russia and so forth, presented a fascinating synthesis of the global and the local. The Festival was thus able to blur national and international borders, and project its own version of glocalization. It was an incredible and informative experience, and I thank NETPAC for providing me with such opportunity.
Dr.Nargis Nurulla-Khodzhaeva
Vice-President of Z.Shahidi International Cultural Foundation (Dushanbe, Tajikistan); Senior Research Fellow at the Institute of Oriental Studies (Moscow, Russia)