Running to the Sky Review

'Grand Nomadic' executive Mirlan Abdykalykov's sophomore exertion is another rich cut of Kyrgyz life.
An impartial cut of-existence with a bit of transitioning tossed in for good measure, Running to the Sky is the most recent section in the thriving Central Asian wave, and the second movie by chief Mirlan Abdykalykov, whose father Aktan Arym Kubat (or Aktan Abdykalykov) is maybe Kyrgyzstan's best-known producer (The Chimp, The Adopted Son). Coming back with another engaged investigation of a particular people and spot in a similar vein as his Heavenly Nomadic, the producer offers a film that is similarly as outwardly epic and sincerely rich as his introduction.



Hurrying to the Sky should earn a similar consideration Abdykalykov got the first run through around, and after its New Currents debut at Busan and a solid celebration run, a similar specialty and workmanship house wholesalers that reacted in 2015 should come thumping.

In provincial Kyrgyzstan, confined 12-year-old Jekshen (the expressive and drawing in Temirlan Asankadyrov) lives alone with his alcoholic dad, Saparbek (Raslan Orozakunov), searching by at school without a uniform, avoiding menaces and rationalizing not paying his charges to his math educator (Ilimbek Kalmuratov). Saparbek invests the greater part of his energy alcoholic, pining over the spouse that dumped him for an increasingly effective man in the city or contending with the proprietor of the truck he rents for work, Smatai (Ulan Omuraliev) — to whom he owes lease.

At the point when Jekshen's exercise center educator (Meerim Atantaeva) finds his normal ability for running, she enters him in a school rivalry. At the point when he experiences achievement (he wins a prized chicken) and, all the more urgently, having a place, he searches for different opportunities to continue dashing, and it places him on another way in his young life.

Hurrying to the Sky has no fantastic explanations to make, and no hot-button issues to manage, yet it paints a sensitive and layered representation of regular day to day existence for one little fellow as he bears more weight than he ought to for his age. At the point when Jekshen's mom returns one evening, sneaking around the school holding back to whisk him away, Jekshen reveals to her he can't up and surrender his dad, regardless of how insufficient a parent the man is. The way that the vast majority of Jekshen's "companions" and the main individuals to offer him any guidance are his dad's loan bosses and previous collaborators says everything. The film is striking in its depiction of a kid who needs to grow up excessively quick. As hopeless as that may sound, it's not grim or sad, and Abdykalykov never stoops to or feels frustrated about his characters. Jekshen might keep running on the spot however at any rate he's not stagnating inside.

Similarly as with different movie producers from the district, cinematographer Talant Akynbekov (who shot Abdykalykov's first component) has a lot of characteristic material to work with in the dry, dusty scenes whose rough somberness and widescreen pictures recommend exactly how far Jekshen needs to go recount to a large portion of the story. The other half is told by youthful Asankadyrov, who mystically figures out how to be all the while uncorrupt and juvenile and shrewd past his years. Abdykalykov never is by all accounts pulling a presentation from his star, and neither does Asankadyrov tip into excessively mannered, energetic exhibits of his different difficulties. His presentation is one that easily attracts watchers and makes you care about a spilled water can and the possibility to win a donkey. Discussion about old spirits.

Creation organization: Oy Art Film

Cast: Temirlan Asankadyrov, Ruslan Orozakunov, Meerim Atantaeva, Ilimbek Kalmuratov, Ulan Omuraliev, Kubanychebek Beishebaev, Jibek Baktybekova, Jenish Kargeldiev, Dishat Mambetaliev

Executive: Mirlan Abdykalykov

Screenwriter: Ernest Abdyjaparov, Mirlan Abdykalykov

Maker: Altynai Koichumanova

Official maker: Alima Koichuma nova

Executive of photography: Talant Akynbekov

Creation fashioner: Adis Seitaliev

Ensemble fashioner: Mira Kerimalieva

Editorial manager: Evgeniy Krokhmalenko

Music: Murzali Jeenbaev

Throwing: Nurbek Isabekov

World deals: Pluto Film

Setting: Busan International Film Festival

In Kyrgyz, Russian

No appraising, 85 minutes