In 2025, the number of moviegoers in Kazakhstan doubled, reflecting a significant rise in public interest in the national film industry. Over the past five years, the number of film production companies in the country has also increased from 47 to 98. Not only has the number of newly released films grown, but audience engagement has also reached an unexpectedly high level.
Within a relatively short period of time, Kazakhstani cinema has reached a new stage of development, increasingly addressing real-life social issues that were previously left unexplored. Most importantly, Kazakh filmmakers are no longer limiting themselves to comedy alone; genres such as horror, drama, and thriller are now gaining popularity. Below are several contemporary films that tackle relevant social problems.
Top 1: Ауру (“Illness”)
Azamat and Tansholpan are a young married couple drowning in debt. Having lost all hope, Azamat decides to find an easy way to make money by deceiving others—pretending that his wife is seriously ill in order to collect donations. At first, everything goes smoothly: forged documents and charitable contributions bring quick money. However, blinded by the ease of their earnings, the couple becomes trapped in a web of lies, where every next step risks turning into a catastrophe.
Second Film: 37
A tragic explosion in a metro station claims the life of Rasul and dozens of others, leaving his family devastated. However, fifteen years later, on the anniversary of his death, Rasul unexpectedly returns home. Although shocked, his family is overwhelmed with joy and eager to learn where he has been all these years. As Rasul avoids answering their questions, each family member begins to develop their own theory about his disappearance.
Third Film: Құшақтамашы, мам (“Do not huge me, mom”)
Zhalgas seems to have everything in life—financial stability, a family, and comfort—yet he feels no inner peace. Haunted by the shadows of the past and long-hidden secrets, he blames his mother, Mairash, for his unfulfilled childhood dreams and the family’s misfortunes. After a conflict erupts at home between his mother and daughter-in-law, Zhalgas decides to take his mother to the village on the eve of her anniversary, hoping that a private journey will help them confront unresolved issues and settle long-standing tensions.
Fourth Film: Қызым (“My Daughter”)
Sixty-year-old Yerzhan is once again hospitalized. His three daughters are trying to persuade their father to remarry, but a series of unexpected encounters with potential in-laws gradually reveals long-buried family secrets.
Fifth Film: Дәстүр (“Tradition”)
When a young woman from a remote village is raped by the spoiled son of an influential businessman, her father does everything in his power to prevent the case from becoming public. The only solution they see is a forced marriage based on local traditions. However, after marrying into her new family, the girl brings misfortune upon her husband’s household, exposing the dark consequences of traditions used to conceal injustice.
All five films address socially significant issues and present them to audiences in a powerful and realistic manner. Auru, in particular, received a high rating of 8.1, reflecting a painful social reality: many people struggle with financial insecurity, pensioners cannot survive on their income, and desperation often pushes individuals toward extreme measures. However, such actions rarely lead to happy endings. These issues continue to grow, while effective solutions remain elusive. To truly understand and emotionally experience these situations, viewers are strongly encouraged to watch these films.
Aigerim Yesenbaeva,
11th grade student
