User Score
10 votes
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.
Status
Released
Original Language
UZ
Yuldash
Set against the backdrop of a postapocalyptic Earth whose Eastern Hemisphere was destroyed by a massive solar flare, leaving what life remains mutated from radiation and fallout. The story revolves around a group of treasure hunters who extract such objects as the Mona Lisa, the Rosetta Stone and the Crown Jewels while facing rival hunters, mutants and pirates.
