We spoke to Bishkek International Film Festival (BIFF, 11-15 June) head Argen Adil Uulu, who talked us through the mission of the Kyrgyz event, its different strands and this year’s guest countries.

Cineuropa: This is the festival’s third edition – how would you define its mission today, and how has it evolved since its launch?
Argen Adil Uulu: When we first began organising the event, we treated it like just another festival in the region. But during the preparations, it became clear that we didn’t want to limit ourselves to screenings and formal dinners. We realised that the festival had to have a purpose.
During the first year, we launched the CAF Pitch programme and deliberately opened it to young filmmakers from across the region. This had an immediate effect. Ultimately, CAF Pitch became the heart of the first BIFF – a professional platform where aspiring directors had the opportunity to make their voices heard.

By the second edition, we realised we could be more than just another event; we could become a platform shaping a new regional system. The Central Asian Competition, which evolved from our former national contest, became its core.

The heart of the third festival, albeit indirectly, is the Central Asian Distributors Forum – the first platform where industry representatives can come together to discuss the creation of a unified film market. Kazakhstan, Uzbekistan and Kyrgyzstan had long sought to establish joint distribution, but differences in taxes, infrastructure and distribution systems had stood in the way. The forum marked the first real attempt to initiate meaningful co-operation. Thus, each festival is built around a specific core. We do not aim to be the loudest festival in Central Asia; our goal is to be genuinely useful. Our mission is to address real industry challenges and create a platform for active dialogue.

With three separate competitions, including one devoted entirely to Kyrgyz cinema, how do you strike a balance between regional focus and international outreach?
We manage to maintain a balance among the three competition programmes thanks to one simple yet profound idea: the question of whether there is a division between commercial and independent cinema. We deliberately moved away from the format of “international competition + national competition”. We sacrificed the national contest in order to create the Central Asian Competition, where films from five countries compete. This is a step towards genuine regional dialogue. During the third year, we took the next important step – the creation of the Kyrgyz Box competition, dedicated to Kyrgyzstan’s commercial cinema. It is no coincidence that this format emerged here: Kyrgyzstan has developed a domestic film market, something still absent in most post-Soviet countries. Local productions consistently account for up to 50% of all screenings. The fact that a group of filmmakers built their own distribution market and sustained it in competition with global studios is a phenomenon that deserves professional recognition. That’s why we felt it was important to introduce a dedicated competition that acknowledges this achievement.

Inviting France and Germany as guest countries sends a strong signal of cultural exchange – what does this partnership mean for BIFF and for the region’s engagement with Europe?
When you speak about a particular country and its cinema, certain images come to mind. France, of course, is synonymous with the New Wave, while Germany evokes expressionism. In other words, it’s not just about film; it’s about a historical layer, a cultural context. From this perspective, Europe also holds a particular perception of Kyrgyz cinema. We are known as a phenomenon once called the "Kyrgyz Miracle". This recognition carries a great responsibility – to be the heirs and continuers of that remarkable legacy.

At the third BIFF, we should not be simply hosts, but also equal partners in the dialogue. That’s why we decided that these two countries should be our guests – they are neighbours to each other, different in their cinema, yet both have left an enormous mark on world culture. And it is not only about cultural exchange. We truly have things to talk about. In both France and Germany, there are many producers, experts and specialists who have long wanted to work with Central Asia. France and Germany have made more efforts than others to establish connections and create shared projects.

What kinds of audience development strategies is Bishkek putting in place to grow cinephile communities locally while remaining accessible to international professionals?
When we talk about our industry programmes like pitches, master classes, forums and workshops, they're primarily aimed at attracting young specialists from the region and, at the same time, international experts. Participating in these events is much more economically accessible than travelling to Europe. Unfortunately, the Central Asian region hasn't fully realised this yet. But I'm confident it's only a matter of time. Soon, many creators will understand that it's much simpler to come to Bishkek and meet the right people here. We're already seeing growth.

Regarding our audience, we don't have any issues there. Kyrgyz cinema and festival cinema in Kyrgyzstan have always had to compete with the Hollywood mainstream from the very beginning. Our occupancy rates reflect this: on average, 70% of the audience is local and 30% are festival guests. Our screenings and industry events remain open, and we consistently have 90% attendance.