Marat works as a personal driver in Almaty, capital of Kazakhstan. When he hits a Mercedes, the nightmare begins. The loan he accepts to pay for the damages puts him at the mercy of a mafia boss. Marat becomes the victim of violence, daily humiliation and events out of his control. He is forced to consider a “contract”: the release of his debts in exchange for the murder of a bothersome journalist. –Celluloid Dreams
With a degree in Mathematics, Omirbaev first approached cinema theoretically, graduating from VGIK with a thesis on film semiotics and writing criticism for the magazine Novoe Kino. Omirbaev’s theoretical concerns translate seemlessly to the making of films, and like other critics turned directors, finds human expression for his ideas. Like Bresson, he pays close attention to details, to points of subtle contact between people, and particularly in Kardiogramma – to the merging of dream and reality. And like Godard, his films are self-referential (Jol), and literary (Kairat). His first feature film, Kairat, won the Silver Leopard at the Locarno Film Festival. —Seagull Films
Great portrayal of life in Kazakhstan at the times of Bandit capitalism. The lead was a bit of a wimp though,i mean he should have gotten out of that cafe in Russia as soon as the bikers left instead of finishing his soup. Overall an interesting watch. oh...Loved the poster of Viktor Tsoi in the hallway of his apartment.
the film was about kazakhstan and the urban landscape looks identical to cities in russia, ukraine, moldova - the ghastly ugliness of the ex-soviet bloc, with its grey despondency, misery-overridden people,.its new-found kinkiness and obese neo-rich. arbitrary justice, despair and fraud, terror, puppet authorities and electricity cut at night - tens of millions live like this in the wake of the monster's collapse.