Anisa Sabiri

Directing

Biography

Anisa Sabiri is a London-based filmmaker originally from Tajikistan. Her films, including THE CRYING OF TANBUR (2018) and RHYTHMS OF LOST TIME (2021), have screened at international festivals, including Busan, Asian Film Archive, BOZAR, Musée des Confluences and DOKUMENTA-15. Her projects in development have been selected at Berlinale (EFM Toolbox), Ji.hlava, Sheffield DocFest, DocMonde, Eurasia DocMonde and goEast. In 2023, she co-directed and co-wrote PINK TREE, commissioned by BAFA & CHANEL, showcased at Busan IFF. As a writer, Sabiri contributed to a hybrid poetic film HAFTA, showcased at the 60th Venice Biennale, Main Pavilion. In 2018, Anisa established the 'My Vision' Experimental Film Residency in Dushanbe, marking her entry into production. Her UK-based company, Generation Films, is developing a feature documentary, '3200', by an emerging Tajik filmmaker Mehrangez Saidzoda's work in a French co-production. Anisa teaches film at the University of Central Asia in Naryn, Kyrgyzstan, and has contributed to the Independence Project with DISCO Network and Doc Society, and has spoken at the Royal Society of Asian Affairs, European Film Market, goEast, Basel Peace Forum and PEN. Sabiri completed her MA in Screenwriting at the London Film School with a Chevening Scholarship, earning the Outstanding Screenwriting Award and The Final Draft. She is an alumna of Sheffield Future Producers and the UCLA programme with the US State Department's International Leadership Programme in Documentary Filmmaking (2021). She studied with Suwa Nobuhiro at the Busan Asian Film Academy (2024) and with Fred Kelemen in Moscow. She is a member of Directors UK and the Documentary Association of Europe.

Known For

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A remote corner in the kingdom of nature is the ideal place for reflections about the meaning of life and the hero’s role in this world: this hero is Rodion Raskolnikov. His tactile and sincere communication with the current of the water in the clear mountain river seems to turn to the Koranic question on man’s original matter – the transparent liquid with which Raskolnikov tries to wash his face whilst dirtying himself. Water is the ‘mirror’ in which the hero sees himself, set against the issue of the ‘superflu- ous man’ and his own destination. Is he a worm? Is this worm disgusting?” – Raskol- nikov asks his reflection. The internal experiences, along with visions of the caring Sonya singing him a lullaby – are an invented reality into which Rodion has escaped, but he is forced to return to the former world, where things are not as they seemed...

Redemption

2017Movie

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A true story, based on the tragedy of the family of the died military journalist in Post-Soviet Tajikistan in 1993. This film is a debut film of young Tajik art activist, a novice filmmaker Anisa Sabiri. Native to rural Tajikistan, she hopes to use her art to shine a light on the history and horrors of the civil war and conflicts that have affected so many in her homeland, but are often forgotten by the rest of the world.

The Crying of Tanbur

2018Movie

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Globalisation, politics, and religion are ruthlessly stamping out the last remnants of traditional culture in Tajikistan. Today, many of these ancient traditions survive only in the mountains, where music and dancing still accompany people in joy and sorrow, just as they did a thousand years ago. After hearing a recording of a Tajik instrument called the maddoh many years ago, British musician Leo Abrahams was struck by its unusual beauty, and travelled to Tajikistan in an attempt to hear the music in person. In Rhythms of Lost Time, Leo travels the country and meets local residents, who introduce him to the hospitable and rich culture of Tajikistan. Together, they draw back the curtain on the challenges that traditional culture and the Tajik people have faced both in the past, and in the present day.

Rhythms of Lost Time

2021Movie