The River

Venice 2018
Orizzonti Competition
TIFF 2018
Platform Competition
Venice Orizzonti
Best Director

The River

A Film by Emir Baigazin

2018 - Kazakhstan/Norway/Poland - Drama - 2.39 - 108 min.

with Zhalgas Klanov , Zhasulan Userbayev , Ruslan Userbayev & Eric Tazabekov

Languages: Russian , Kazakh
Produced by Emir Baigazin

A family with five sons lives in a remote Kazakh village. In accordance with the Eastern tradition, the eldest son Aslan (13) becomes the Father's deputy, in charge of all the work, and delegating the tasks. One day Aslan takes his brothers to the River for a swim - a moment of deep happiness. From then on, life is different. And when Kanat, an unknown cousin, unexpectedly arrives at the village, the structured life of the family begins to fall apart for good.

Venice 2018
Orizzonti Competition
TIFF 2018
Platform Competition
Venice Orizzonti
Best Director

More Films

A Taste of Whale

A film by Vincent Kelner

2022 - France - Documentary - 1.78 - 85 min.

Every summer, hundreds of pilot whales are hunted in the fjords of the Faroe Islands. It’s locally known as the “Grind”, a spectacular and bloody tradition. International activists would like to put an end to it, so that these mammals will stop suffering. Knife in hand, the Faroese denounce the hypocrisy of those who eat meat without looking at what is happening in slaughterhouses and at the industries polluting our planet.

Wildhood

A film by Bretten Hannam

2021 - Canada - Drama - 2.39 - 108 min.

When Link discovers his Mi’kmaw mother is still alive, he runs away from home with his younger brother Travis, in a desperate gamble to start a new life. They’re soon joined by Pasmay, a pow wow dancer drawn to Link's story. Together they embark on a Two-Spirit odyssey, reconnecting with culture and the territory of Mi’kma’ki in Nova Scotia, Canada, while trying to find Link's mother, Sarah.

God's Offices

A film by Claire Simon

2008 - France/Belgium - Comedy/Drama - 2.35 DCP - 122 min.

Djamila would like to be on the pill because her relationship with her boyfriend has become serious stuff now; Zoé’s mother gives her condoms but calls her a whore; Nejma hides her pills outside because her mother searches her bag; Hélène finds herself too fertile; Clémence is scared; Adeline wishes she could have kept it, and so does Margot. Maria Angela would like to know who she’s pregnant by, while Ana Maria has opted for love and freedom. Anne, Denise, Marta, Yasmine, and Milena are the advisers receiving and listening to each of these women as they wonder how sexual freedom can be enjoyed. In God’s offices, you laugh and cry and feel swamped. You dance there, you have a cigarette on the veranda, and you come anonymously to tell the commonplace or unbelievable story of your life.