

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
Casper is a time traveller who arrives in the 2020s in an attempt to prevent a major future catastrophe. He meets Holly, a queer black woman he befriends and draws into his plan by giving her his knowledge of the future so that she can make quick money. However, they unwittingly alter the future themselves with their actions, until Doris, another time traveller, arrives to stop them.