“Aydınlar” is the newest function by Uzbekistani administrators Muzaffarxon Erkinov and Muzaffar Qoraboyev. In it, the duo tackles the life within the once-prosperous however now abandoned metropolis of Muynak after the Aral Sea disaster.
Seyit (Arman Barakov), an Uzbekistani sailor working in Egypt receives a message that his grandfather Nurpeis (Hayitali Nizomiddinov) has handed away. He goes dwelling for the primary time in six years, eager about the previous, his household, and his beloved metropolis. We watch the story play out via some flashbacks Seyit has whereas driving dwelling from the airport. Every of them, by the way in which, is launched with nearly the identical gaudy montage. Because of the nature of reminiscence and the story we’re watching, the farthest our protagonist is from dwelling, the higher recollections of his city and his grandfather he has. We see him bear in mind his childhood as a fairy tale-like expertise full of video games and exploration of the ship cemetery. He listens, and extra importantly, believes, his grandfather’s prediction that the Aral Sea will come again and their metropolis of seamen will thrive as soon as once more.
The recollections are additionally the time when the principle battle of “Aydinlar” is launched. We see Seyit falling in love and competing along with his greatest pal Maman (Doston Boymirzayev) for the center of Qizlargul (Guljahon Polvonniyazova), the lady they each like. As he travels dwelling, we observe his life story creating in predictable for this kind of films methods. When they’re youngsters, Maman’s already wealthy household grows richer, whereas Seyit’s does the other, and so he has to work for his pal’s household to assist his sick mom. He additionally begins to appreciate that he can’t present a future for his beloved. He has no selection however to desert her, whereas she will be able to’t do something however let him go. She will be able to’t go together with him, as a result of that’s not what ladies can do.
Being from a small dying metropolis, Seyit’s life is inextricably linked to that of his metropolis. Because the Muynak’s financial system and infrastructure grows worse, so does Seyit’s life and that of the opposite townspeople. We’re reminded of that again and again via the way in which the city is proven. Small dilapidated homes, nearly no streets, to not say about retailers or different buildings, it’s extra of a township or a settlement than a once-prosperous metropolis. Because of this, not solely can’t the few left individuals residing in Muynak turn out to be sailors, one thing that town was well-known earlier than the catastrophe that prompted the Aral Sea to empty, however they will’t discover any work in any way. This forces them to attempt to depart town, one thing that they don’t actually need to do, but in addition can’t bodily, as a result of there are not any automobiles passing via it for days. It’s as if the ghosts of the previous and the trauma from the catastrophe, one thing the film doesn’t take care of in any respect, are pulling them again.
Seyit’s recollections are contrasted with the Muynak he sees after he arrives from his journey. Having been gone for less than six years, however apparently not conserving contact with anybody dwelling, he can’t consider what has occurred of his hometown. Developed and fashionable, full of individuals and companies, it’s nothing just like the hamlet of his recollections. The distinction is so stunning that we are able to’t however marvel if the film was sponsored by town and even when it was made as its commercial. Because the credit roll, we understand that that is considerably the case, however it doesn’t actually matter as a result of as cliched and unrealistic the plot of “Aydinlar” is perhaps, it provides us a glimpse of surviving after a artifical catastrophe nobody desires to acknowledge.