Daniyar Salamat

No description available.

Karim lives with his son in a small dorm room. Their way of life is unsettled, and the world is manly stingy with compliments and emotions. Not everything in their relationship turns out as smoothly as we would like, and the affectionate hand of a woman is not enough in this uninhabited space. But after all, sorrows and problems are forgotten when the father's shoulder is always there, and the son's hand is always in his big palm.

The plot centers on two competing production centers. One is led by an angel, the other by a demon. Each of them fights for worldly souls, using the potential of creative people. The first is guided by the principle of self–improvement, the second by momentary profit.

In the mid-1920s, Salimsak, an ordinary Kazakh from the steppe, was disliked by his wife for degrading the family by playing the female role in a play against polygamy. He unintentionally uttered the word "Talaq" during an argument, and according to local religious tradition, if a husband says "Talaq" to his wife three times in a row, it means he is divorced. While Salimsak, who has never thought of leaving his wife, prays for a solution, his wife, under the influence of the popular slogan of "women's liberation", is thinking of divorce. ......... The collapse of Salimsak's small traditional family in the current of the times is a metaphor for the collapse of director Daniyah's family. The metaphor of the collapse epitomizes the core of the films of the director Daniyar Salamat, who has been writing in Kazakh since his debut and believes that cinema has a great significance in social education, and that the spirit of the nation cannot be restored without the progress of cinema.

The documentary is dedicated to the 75th anniversary of the Honored Worker of Kazakhstan, Opinion Prize winner, writer, screenwriter and film director Sadul-Satybaldy Narymbetov. His name is occupied by writing the golden fund of Kazakh cinema, and his works are considered a classic national cinema.