The thriller is directed by Kazakhstan’s Adilkan Yerzhanov.
Russian-French sales outfit Riverlet Films has sold The Assault, which premiered in competition at Rotterdam this year, to Kinovista for France and all French-speaking countries. A theatrical release is planned for autumn 2022.
The Assault is directed by Kazakh Adilkan Yerzhanov, whose previous credits include Tallinn competition title Herd Immunity and Cannes Un Certain Regard premiere The Gentle Indifference Of The World.
Yerzhanov also wrote the script for the Russian-language title, which follows a group of unidentified people who appear to be terrorists as they seize a village school in Kazakhstan, taking the children hostage,...
Russian-French sales outfit Riverlet Films has sold The Assault, which premiered in competition at Rotterdam this year, to Kinovista for France and all French-speaking countries. A theatrical release is planned for autumn 2022.
The Assault is directed by Kazakh Adilkan Yerzhanov, whose previous credits include Tallinn competition title Herd Immunity and Cannes Un Certain Regard premiere The Gentle Indifference Of The World.
Yerzhanov also wrote the script for the Russian-language title, which follows a group of unidentified people who appear to be terrorists as they seize a village school in Kazakhstan, taking the children hostage,...
- 4/12/2022
- by Mona Tabbara
- ScreenDaily
If endless sequels, prequels, reboots, spin-offs, teamups, callbacks and shout-outs have put you off the idea of the “shared cinematic universe,” you haven’t been spending enough time in Karatas, world cinema’s smallest, wildest, weirdest crossover microcosm. The fictional village in rural Kazakhstan, populated exclusively by the clueless, the cowardly, the comic and the corrupt has provided a stark, absurdist backdrop for most of prolific Kazakh director Adilkhan Yerzhanov’s films, including his newest, the dark, funny, freaky “Assault.”
It may not be the most essential Yerzhanov entry — it’s not the darkest, funniest or freakiest — but “Assault” is a droll refresher on his singular sensibilities, and his borderline miraculous ability to maintain a coherent tone while narrative logic and consistency are highly expendable commodities. Good taste, too, can be as casually tossed out as one of the stuttered insults that make up about 80 percent of the dialogue. Here,...
It may not be the most essential Yerzhanov entry — it’s not the darkest, funniest or freakiest — but “Assault” is a droll refresher on his singular sensibilities, and his borderline miraculous ability to maintain a coherent tone while narrative logic and consistency are highly expendable commodities. Good taste, too, can be as casually tossed out as one of the stuttered insults that make up about 80 percent of the dialogue. Here,...
- 1/28/2022
- by Jessica Kiang
- Variety Film + TV
Two penniless villagers try their luck in the big city in the poetically titled “The Gentle Indifference of the World.” The latest from Kazakh indie helmer Adilkhan Yerzhanov (“The Owners”) once again indicts bureaucratic corruption and abuse of power in the post-Soviet wild East. Despite the titular tip of the hat to French philosopher and existentialist author Albert Camus’ “The Stranger” and references to Paris and Jean-Paul Belmondo, this whimsical, low-budget film is very much of a piece with the director’s previous work. The world premiere in Cannes’ Un Certain Regard lineup should serve as a launch pad for further fest play.
Over the course of six features, Yerzhanov has crafted what one might call a distinctive cinema of poverty that’s serious in its themes and playful in its design. His slyly humorous, stylized minimalism, the miserablism of his characters and their laconic, poker-faced acting style all recall...
Over the course of six features, Yerzhanov has crafted what one might call a distinctive cinema of poverty that’s serious in its themes and playful in its design. His slyly humorous, stylized minimalism, the miserablism of his characters and their laconic, poker-faced acting style all recall...
- 5/18/2018
- by Alissa Simon
- Variety Film + TV
Sometimes it isn’t enough to simply portray the type of eternal love that Shakespeare wrote about in Romeo and Juliet. Watching two star-crossed lovers attempt to fight the injustices of this world to be together, only to sacrifice themselves, can still ring hollow because it hinges upon the naiveté of children not looking for another solution regardless of whether the result would be the same. To take the poison is to admit defeat against external forces that are too strong to fight. Love therefore becomes our sole reason to exist once everything else is shown to be false. Until then we still possess hope and the possibility of improving our circumstances so that our love may be fostered beyond a fleeting fantasy.
Love becomes the byproduct of futility, the single tangible concept we can hug when everything crumbles around us. Love doesn’t therefore kill; it sustains when the rest burns.
Love becomes the byproduct of futility, the single tangible concept we can hug when everything crumbles around us. Love doesn’t therefore kill; it sustains when the rest burns.
- 5/17/2018
- by Jared Mobarak
- The Film Stage
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