ASTANA – Creative industries are a rapidly expanding sector of the global economy, generating added value and new jobs. Globally, the sector contributes more than 3% to GDP and employs over 6% of the working population.
Mustafina, her mother and her grandmother. Photo credit: kazakhcinema.kz
Kazakhstan has seen promising growth in this area. Since 2019, the country’s creative economy has more than tripled in size. However, its share of national GDP remains modest—around 1%. Some creative sectors are now growing faster than traditional industries.
In an interview with The Astana Times, film director and writer Alina Mustafina shared her perspective on the creative industry in Kazakhstan, calling for greater institutional support and stronger representation of women in film.
Alina Mustafina, the Kazakh film director and writer. Photo credit: Mustafina’s Instagram page
“There are positive changes overall. Young people are growing up, and we’re seeing more opportunities, such as the Shabyt Foundation for musicians. There are also emerging funds for cinema, including some that are not state-run,” said Mustafina.
Despite these advances, Mustafina said the lack of long-term support structures hinders progress.
“People here are trying to be creative while also making ends meet. That’s hard to do. We do not have institutions that sustain artists between projects. In France, for example, filmmakers who pay taxes and work a set number of hours qualify for state allowances. We need something similar,” she said.
She urged the government and private institutions to invest more in creative industries, including offering travel grants to help artists represent Kazakhstan abroad.
Mustafina praised grassroots efforts such as Post Space Film Camp, founded by Kazakh filmmaker Yulia Kim. The initiative brings international film professionals to the Kyrgyz Republic to train directors and producers from Central Asia.
“It’s a treasure trove of knowledge. There is another similar project, Script Lab, which last year helped ten Central Asian directors improve their scripts with guidance from Los Angeles-based experts,” said Mustafina.
According to her, regional progress depends on investment in culture and education, and true breakthroughs occur when societies move beyond a local mindset and embrace broader growth.
A unique voice in global cinema
Mustafina said Kazakh cinema stands out for its unique blend of tradition and modernity, as well as its geographic context, which remains largely unfamiliar to global audiences.
“Our films are often better known in Europe than in the United States. Kazakh cinema combines elements such as Tengrism, spiritualism and shamanism with modern life and Western influence. That creates a fascinating contrast between traditional ways and urban lifestyles,” she said.
Recurring themes in Kazakh cinema include post-Soviet identity, the conflict between traditional values and emancipation, women’s rights, and the patriarchal structure. Mustafina noted a growing pro-Western outlook among young people and a strong desire for change and progress—factors that make Kazakh cinema distinct and compelling.
The female perspective
Mustafina emphasized the need for more women behind the camera, both as writers and directors, to ensure more nuanced and diverse portrayals on screen.
“Representation of women in the creative industries is low, partly because male directors dominate the field and have an easier start. Many women must pause or end their careers to raise families, especially in Kazakhstan, where women often care for children into their mid-30s, while international grants have age limits,” she said.
She believes that increasing female participation is essential for creating meaningful content.
“We bring a unique lens to topics like motherhood, divorce, and midlife crisis. Women tend to be more empathetic, more introspective—and that helps us tell deeper stories,” Mustafina explained.
At this year’s Cannes Film Festival, Mustafina also observed a shift in how women are portrayed.
“Previously, films often depicted women solely as victims of violence. But now we’re seeing women resisting and taking action. A third trend is emerging—women moving from victims to aggressors—as part of a larger effort to find balance,” said Mustafina.
She said filmmakers are increasingly acknowledging the need to unify and harmonize masculine and feminine principles.
A personal story with universal reach
Mustafina also discussed her award-winning documentary, “Gingerbread for Her Father, My Great-Grandfather, Her Grandfather,” which won the top prize at Iran’s Cinema Vérité documentary film festival in 2024.
The film follows three generations of women—Mustafina, her mother and her grandmother—on a journey from Kazakhstan through Tatarstan to Poland. They are searching for the grave of her great-grandfather, who died in the Second World War. The road movie also becomes a deeper exploration of family bonds, national identity and emotional healing.
“The idea came from a 1986 newspaper clipping my grandmother wrote. She had always dreamed of visiting her father’s grave. She last saw him at age four, and he died when she was seven. She carried that pain all her life. I thought, why not help her fulfill that dream and make it into a film?” said Mustafina.
The story evolved into a broader meditation on generational wounds and the search for a sense of home.
“It began as an intimate story, but it became something larger. The film resonated with audiences in the post-Soviet region and beyond, in places like Italy and Korea,” she said.
Winning the Iranian festival garnered international attention and helped her secure future funding.
“I want as many people as possible to see the film. It is important to me to show my country, to raise issues that matter to Kazakhs on the global stage. When someone tells me the film moved them deeply, I know it was all worth it,” explained Mustafina.
Looking ahead
Mustafina has several projects in the works, including a book written three years ago titled “The Pilot’s Wife,” which she has yet to edit. She also has a completed feature-length script awaiting funding, a second script in development, and a new documentary in the planning stages.
“Everything depends on funding. But in any creative profession, it’s the inner fire that drives you. That spark pushes you to keep working, even when progress is slow or resources are limited. Without it, it’s easy to quit—but with it, you keep moving forward, one step at a time,” said Mustafina.
