Big changes are coming. Imagine that the great years of disaster are over. You have a wonderful city around you. The rule of the great leader of the proletariat is nullified, and the years called the Thaw come. Millions of penal prisoners, petty thieves, parasites are released and are sent to various cities of the Soviet Union in stages. Thieves' culture is just like last-stage cancer is developing across the country. Young men gather in packs, create their own order on the streets, terrorizing civilians. And of course, the film tells us the story of one of these young people named Aidar.
It’s hard to be human when there are animals around. Among his peers, Aidar is distinguished by generosity and kindness. In the film, he encounters cruelty and cowardice. Warring guys from the neighboring district are afraid of Aidar. After all, along with his honesty and kindness, he has a very brave and honest soul. But without disadvantages in character, of course, can not do. The director shows us the young man not only fearless, but also a very sophisticated dreamer. The whole Aidar movie is pulling "Where That Is." Of course he doesn't know. An ordinary guy with personal experiences, does not know who he wants to be in adulthood. He smokes cigarettes, secretly looks at erotic maps, but will never exceed the limits of what is allowed. For example, in the episode near the hospital, he refuses marijuana, thereby causing hostile actions against himself.
The legendary Alma-Ata is shown to the smallest detail, despite the fact that the picture was shot in 1988. The same courtyards with noisy neighbors, the same way of life of people of those times. The atmosphere of life at that time is literally felt in the foreground. The work of Aubakir Suleyev deserves special praise. Only one character of shooting conveys the feeling of lightness, as if you, along with all the characters of the film, go through this whole story. He uses the same artistic technique in his next work “Kairat”, directed by Darezhan Omirbayev.
Despite the fact that the film was released in 1988, it is still very different from the conventional aesthetic of “New Wave”. It takes us from head to toe into the postwar years. Tall trees, old courtyards, beautiful parks, and of course, the hated “Spahn”. Special culture of Almaty, and everyday life. That's what Aidar is running from. Tired of the endless nitpicking of his relatives, tired of all the rules with which he was besieged by life. He runs over a bright bridge, and a large portrait of the leader looks at him from above. Where's he going? Nobody knows. Maybe to meet for a big change...