The Shaken Aimanov Kazakhfilm Studio is the heart of Kazakh cinema, the country's main venue for the creation of iconic films that reflect the history, culture, and spirit of the people. The studio's history spans almost a century and is closely linked to the development of cinema in Kazakhstan.
The origins of Kazakh cinema date back to 1925, when the first documentary film, “The Fifth Anniversary of the Kazakh ASSR,” was made. This was the first attempt at newsreels, capturing the life and development of the young republic. In 1928, the All-Russian Trust “Vostok” was established in Moscow under the Council of People's Commissars of the RSFSR. It was tasked with keeping a film chronicle of the countries of the East, including Kazakhstan.
In 1929, in Kazakhstan, based on the Vostokkino trust, director Viktor Turin shot the legendary film Turksib. This film, dedicated to the construction of the Turkestan-Siberian railway, became not just a documentary chronicle, but a work that influenced the development of world cinema. In 1930, the first Kazakh feature films, Songs of the Steppes and Jut, appeared at Vostokkino, starring the first Kazakh actors, Serke Kozhamkulov and Hakim Davletbekov. Their participation was a significant event for the nascent Kazakh cinema.
In 1929, in Kazakhstan, based on the Vostokkino trust, director Viktor Turin shot the legendary film Turksib. This film, dedicated to the construction of the Turkestan-Siberian railway, became not just a documentary chronicle, but a work that influenced the development of world cinema. In 1930, the first Kazakh feature films, Songs of the Steppes and Jut, appeared at Vostokkino, starring the first Kazakh actors, Serke Kozhamkulov and Hakim Davletbekov. Their participation was a significant event for the nascent Kazakh cinema.
1920s: The first steps of Kazakh cinema
In 1934, the Alma-Ata Film Studio was established in Alma-Ata, becoming the first specialized film studio in Kazakhstan. By 1936, the studio had already begun producing documentary films capturing the most important events in the country. This period became the time when the foundations of Kazakh cinema were laid.
In 1938, the first Kazakh feature film, Amangeldy, dedicated to a folk hero who fought for the freedom of the Kazakh people, was shot at the Lenfilm film studio. The film was a huge success and marked the beginning of national feature films in Kazakhstan. This film was a significant step in the development of cinema, giving Kazakh actors, directors, and screenwriters the opportunity to showcase their talent. It was with Amangeldy that Kazakh film drama began to take shape.
In 1938, the first Kazakh feature film, Amangeldy, dedicated to a folk hero who fought for the freedom of the Kazakh people, was shot at the Lenfilm film studio. The film was a huge success and marked the beginning of national feature films in Kazakhstan. This film was a significant step in the development of cinema, giving Kazakh actors, directors, and screenwriters the opportunity to showcase their talent. It was with Amangeldy that Kazakh film drama began to take shape.
1930s: Founding of the film studio and first films
With the outbreak of the Great Patriotic War, Kazakhstan became an important center of film production for the entire Soviet Union. The Central United Film Studio was established on the basis of the Alma-Ata newsreel studio and feature film studio, which included the Mosfilm and Lenfilm film studios that had been evacuated to Kazakhstan. This made it possible to continue the production of feature films in the rear, in safe conditions.
Outstanding masters of cinema worked at the Central Film Studio: Eisenstein, Pudovkin, Vertov, Trauberg, Kozintsev, Pyriev, Roizman, Shub, and others. In total, about three thousand filmmakers arrived in the capital of Kazakhstan. In addition to film studios, Almaty was home to the VGIK (All-Russian State University of Cinematography named after S.A. Gerasimov) and the All-Union Screenwriting Studio, where leading screenwriters worked.
After the disbandment of the Central Film Studio and the re-evacuation of the Mosfilm and Lenfilm film studios, the Alma-Ata Film Studio was renamed the Alma-Ata Film Studio for Feature and Documentary Films.
From 1941 to 1944, the film studio produced about 80% of all Soviet feature films, including such iconic films as Sergei Eisenstein's Ivan the Terrible. The film studio played a key role during the war, providing the cinematic front with materials that inspired soldiers and supported the country's morale.
In 1947, Shaken Aimanov was awarded the title of People's Artist of the USSR for his contribution to the development of Kazakh cinema. He became not only a famous actor but also one of the key directors whose works laid the foundation for subsequent generations of Kazakh filmmakers.
Outstanding masters of cinema worked at the Central Film Studio: Eisenstein, Pudovkin, Vertov, Trauberg, Kozintsev, Pyriev, Roizman, Shub, and others. In total, about three thousand filmmakers arrived in the capital of Kazakhstan. In addition to film studios, Almaty was home to the VGIK (All-Russian State University of Cinematography named after S.A. Gerasimov) and the All-Union Screenwriting Studio, where leading screenwriters worked.
After the disbandment of the Central Film Studio and the re-evacuation of the Mosfilm and Lenfilm film studios, the Alma-Ata Film Studio was renamed the Alma-Ata Film Studio for Feature and Documentary Films.
From 1941 to 1944, the film studio produced about 80% of all Soviet feature films, including such iconic films as Sergei Eisenstein's Ivan the Terrible. The film studio played a key role during the war, providing the cinematic front with materials that inspired soldiers and supported the country's morale.
In 1947, Shaken Aimanov was awarded the title of People's Artist of the USSR for his contribution to the development of Kazakh cinema. He became not only a famous actor but also one of the key directors whose works laid the foundation for subsequent generations of Kazakh filmmakers.
1940s: Wartime and the Central United Film Studio
The second important event in the history of Kazakh cinema was the arrival of Shaken Aimanov, a theater actor who brilliantly portrayed Jambul Zhabayev in the film Jambul (dir. E. Dzigan, 1952), to film directing.
In 1954, the film “Daughter of the Steppes” was released, which was the first Kazakh film shot entirely in the national style. In this film, viewers saw authentic Kazakh traditions, everyday life, and culture, which was an important event for national cinema.
In the same year, the film Poem of Love (Mahabbat Turaly Dastan), based on a screenplay by G. Musrepov, was released. It was the directorial debut of Shaken Aimanov. This film marked the beginning of the development of Kazakh national filmmaking and the regular release of feature films at the Alma-Ata Film Studio.
In 1959, the film Our Dear Doctor received an honorable mention at the All-Union Film Festival, confirming the high level of Kazakh filmmakers. In the same year, Shaken Aimanov became the artistic director of the film The Road of Life. His directing and acting work played a key role in the formation of Kazakh cinema.
Starting in the second half of the 1950s, feature films in Kazakhstan entered a phase of full-fledged development as film production in the republic strengthened its position: national playwrights, writers, and directors entered the cinema, and a national film directing school began to take shape.
In 1954, the film “Daughter of the Steppes” was released, which was the first Kazakh film shot entirely in the national style. In this film, viewers saw authentic Kazakh traditions, everyday life, and culture, which was an important event for national cinema.
In the same year, the film Poem of Love (Mahabbat Turaly Dastan), based on a screenplay by G. Musrepov, was released. It was the directorial debut of Shaken Aimanov. This film marked the beginning of the development of Kazakh national filmmaking and the regular release of feature films at the Alma-Ata Film Studio.
In 1959, the film Our Dear Doctor received an honorable mention at the All-Union Film Festival, confirming the high level of Kazakh filmmakers. In the same year, Shaken Aimanov became the artistic director of the film The Road of Life. His directing and acting work played a key role in the formation of Kazakh cinema.
Starting in the second half of the 1950s, feature films in Kazakhstan entered a phase of full-fledged development as film production in the republic strengthened its position: national playwrights, writers, and directors entered the cinema, and a national film directing school began to take shape.
1950s: Development of national cinema
On January 9, 1960, the film studio was officially renamed Kazakhfilm. This marked the beginning of a new stage in the studio's history. Since 1960, Kazakhfilm has produced more than 50 documentary films, some of which have been shown throughout the Soviet Union and distributed in Moscow.
In 1963, the First Founding Congress of the Union of Cinematographers of Kazakhstan was held, headed by Shaken Aimanov. He continued to work on the development of cinema in Kazakhstan and supported young directors and screenwriters. On May 28, 1963, the State Committee of the Council of Ministers of the Kazakh SSR for Cinematography, or Goskino of the Kazakh SSR, was established.
In 1969, the film Angel in a Turban was awarded a diploma at the film competition of filmmakers from the republics of Central Asia and Kazakhstan.
During these years, animated films also developed rapidly. Animator Amen Khaidarov, together with a group of graduates from the Alma-Ata Art School, with the permission of Kamal Smailov, director of the Kazakhfilm studio, carried out a bold experiment: secretly from the leadership of the USSR State Committee for Cinematography, they shot the first Kazakh animated film. The risk paid off: the cartoon “Why Does a Swallow Have a Horned Tail?” was a success and won an award at the All-Union Film Festival in Leningrad, which provided legal grounds for the organization of a cartoon production group. Graduates of the VGIK, young artists, film production organizers, film editors, and screenwriters joined the animation team. In the 1970s, the animation studio became an island of freedom for many young filmmakers at Kazakhfilm.
In 1963, the First Founding Congress of the Union of Cinematographers of Kazakhstan was held, headed by Shaken Aimanov. He continued to work on the development of cinema in Kazakhstan and supported young directors and screenwriters. On May 28, 1963, the State Committee of the Council of Ministers of the Kazakh SSR for Cinematography, or Goskino of the Kazakh SSR, was established.
In 1969, the film Angel in a Turban was awarded a diploma at the film competition of filmmakers from the republics of Central Asia and Kazakhstan.
During these years, animated films also developed rapidly. Animator Amen Khaidarov, together with a group of graduates from the Alma-Ata Art School, with the permission of Kamal Smailov, director of the Kazakhfilm studio, carried out a bold experiment: secretly from the leadership of the USSR State Committee for Cinematography, they shot the first Kazakh animated film. The risk paid off: the cartoon “Why Does a Swallow Have a Horned Tail?” was a success and won an award at the All-Union Film Festival in Leningrad, which provided legal grounds for the organization of a cartoon production group. Graduates of the VGIK, young artists, film production organizers, film editors, and screenwriters joined the animation team. In the 1970s, the animation studio became an island of freedom for many young filmmakers at Kazakhfilm.
1960s: Renamed Kazakhfilm and new successes
In 1970, the film “Kyz-Zhibek” by director Sultan-Akhmet Khodzhikov was released—one of the most significant films in the history of Kazakh cinema. This film became part of the country's cultural heritage, conveying the traditions and customs of the Kazakh people through the screen. In 1974, the documentary film Shaken Aimanov was released, dedicated to the great director and actor.
Documentary and popular science films, as well as philosophical and natural history films, are receiving special attention. The dubbing of films from fraternal republics and foreign films into Kazakh is actively developing.
Documentary and popular science films, as well as philosophical and natural history films, are receiving special attention. The dubbing of films from fraternal republics and foreign films into Kazakh is actively developing.
The 1970s: The Era of Shaken Aimanov and “Kyz-Zhibek”
A new unique building for the Kazakhfilm Studio is being built on Al-Farabi Avenue, with two modern pavilions, a sound studio, a processing laboratory, and technical workshops. The studio becomes one of the best in the Soviet Union. A visit to the film studio is included in the cultural program for foreign guests.
In 1984, the Kazakhfilm Studio was named after the outstanding figure of national cinema, Shaken Kenzhetaevich Aimanov, highlighting his contribution to the development of national cinema. The film studio continued to develop actively, increasing production volumes and shooting films that became popular not only in Kazakhstan but also on international screens.
In 1984, the Kazakhfilm Studio was named after the outstanding figure of national cinema, Shaken Kenzhetaevich Aimanov, highlighting his contribution to the development of national cinema. The film studio continued to develop actively, increasing production volumes and shooting films that became popular not only in Kazakhstan but also on international screens.
1980s: Recognition and new achievements
After the collapse of the Soviet Union, Kazakhstan gained independence, and the Kazakhfilm Studio faced new challenges. Economic instability, the transition to a market economy, and reduced state funding threatened the very existence of the studio. Nevertheless, it managed to retain the core of its creative team and continue its activities.
Undoubtedly, the sensational debut films “The Needle” by Nugmanov and “Last Stop” by Aprymov had a huge impact not only on Kazakh cinema, but on Soviet cinema as a whole. Moscow critics dubbed these films the “Kazakh new wave,” and our republican press supported them. And so the image of Kazakhstan's “other cinema” was born. Soon, all the films of the 1990s came to be viewed from the perspective of the “new wave” aesthetic.
In 1996, Kazakhfilm was reorganized: the Sh. Aimanov Kazakh Film Studio and the National Production Center of the Republic of Kazakhstan were spun off from the single structure. This allowed the studio to focus on both technical support and the development of production activities, including work with independent studios. Despite limited resources, it was during this period that the foundations were laid for a future revival.
Undoubtedly, the sensational debut films “The Needle” by Nugmanov and “Last Stop” by Aprymov had a huge impact not only on Kazakh cinema, but on Soviet cinema as a whole. Moscow critics dubbed these films the “Kazakh new wave,” and our republican press supported them. And so the image of Kazakhstan's “other cinema” was born. Soon, all the films of the 1990s came to be viewed from the perspective of the “new wave” aesthetic.
In 1996, Kazakhfilm was reorganized: the Sh. Aimanov Kazakh Film Studio and the National Production Center of the Republic of Kazakhstan were spun off from the single structure. This allowed the studio to focus on both technical support and the development of production activities, including work with independent studios. Despite limited resources, it was during this period that the foundations were laid for a future revival.
The 1990s: Independence and Reinvention
On March 28, 2000, the main film structures — the Kazakh Film Factory, the National Production Center, Kazkino, and the State Film Fund — merged to form the Sh. Aimanov Kazakhfilm Republican State Enterprise. In 2005, the studio acquired the status of a joint-stock company. These reforms paved the way for new investments and opportunities.
Since then, Kazakhfilm has not only regained its lost position, but has also become an active participant in the international film industry. The studio produces feature films, documentaries, and animated projects. Particular attention is paid to historical dramas and films that reveal Kazakhstan's national identity.
Since 2008, more than 200 films produced by the studio have participated in over 220 international festivals in 60 countries around the world.
Kazakhfilm actively cooperates with foreign studios, including on co-productions, and is developing new areas of activity: digital production, restoration of archival materials, and support for young directors.
In 2024, the Kazakhfilm studio intensified the international promotion of Kazakh cinema. Films such as "Operation Nabat," "Abel," and "Ademoki's Education" were showcased at prestigious festivals and content markets including the Busan International Film Festival, MIPCOM in Cannes, the American Film Market in Las Vegas, and IDFA in Amsterdam.
Kazakhfilm organized Kazakh Film Days in several countries including the Czech Republic, Russia, Lithuania, Azerbaijan, Tajikistan, and Austria, promoting cultural diplomacy and popularizing national cinematography.
Additionally, the studio actively participated in industry forums and congresses, strengthening partnerships and exploring new opportunities for joint production. Within the country, Kazakhfilm supports cultural initiatives by organizing school tours, backing social and inclusive projects, and preserving the memory of prominent figures in Kazakhstani cinema.
Today, Kazakhfilm is not only a symbol of national cinema, but also a modern production center integrated into the global cinematographic context.
Since then, Kazakhfilm has not only regained its lost position, but has also become an active participant in the international film industry. The studio produces feature films, documentaries, and animated projects. Particular attention is paid to historical dramas and films that reveal Kazakhstan's national identity.
Since 2008, more than 200 films produced by the studio have participated in over 220 international festivals in 60 countries around the world.
Kazakhfilm actively cooperates with foreign studios, including on co-productions, and is developing new areas of activity: digital production, restoration of archival materials, and support for young directors.
In 2024, the Kazakhfilm studio intensified the international promotion of Kazakh cinema. Films such as "Operation Nabat," "Abel," and "Ademoki's Education" were showcased at prestigious festivals and content markets including the Busan International Film Festival, MIPCOM in Cannes, the American Film Market in Las Vegas, and IDFA in Amsterdam.
Kazakhfilm organized Kazakh Film Days in several countries including the Czech Republic, Russia, Lithuania, Azerbaijan, Tajikistan, and Austria, promoting cultural diplomacy and popularizing national cinematography.
Additionally, the studio actively participated in industry forums and congresses, strengthening partnerships and exploring new opportunities for joint production. Within the country, Kazakhfilm supports cultural initiatives by organizing school tours, backing social and inclusive projects, and preserving the memory of prominent figures in Kazakhstani cinema.
Today, Kazakhfilm is not only a symbol of national cinema, but also a modern production center integrated into the global cinematographic context.
The 2000s – the present day: reforms and modernity
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Kazakhstan, Almaty, Al-Farabi Avenue, 176. 050023/A15E2T0
