A Cinematic Homecoming: Azerbaijani Films Reunite with Audiences

In a long-awaited moment for Azerbaijani cinema, local directors unveiled their latest works, bringing a mix of animation, drama, and childhood reveries to the silver screen. The films, Erkən Hisslər by Nurlan Həsənli, Tərsinə Kölgələr by Hacı Səfərov, and Nərqız, an animated feature by Məsud Pənahi, were met with both enthusiasm and critique as they debuted to eager audiences.

Each film represents a unique narrative and artistic vision, stemming from the state-sponsored competitions that have invigorated the nation's film industry. While Erkən Hisslər and Narqız emerged victorious in the 2023 competition for state-supported film projects, Tərsinə Kölgələr was backed as part of a 2024 initiative to support post-production projects.

A Tender Exploration of Childhood: Erkən Hisslər

Nurlan Həsənli's Erkən Hisslər invites viewers into the delicate, imaginative world of an 11-year-old boy as he navigates love and death—life's most profound emotions—for the first time. The story begins with the boy’s sole fascination: football. Yet his innocent perspective shifts after a neighbor’s sudden death exposes him to the rituals of grief and the complexity of human emotions.

In an elegantly layered narrative, the boy confronts his own vulnerability, from his competitive relationship with his father, symbolized through their shared love of football, to his rivalry with older neighborhood children. The film’s poignant climax sees father and son as teammates on the same side of the pitch, a quiet moment of reconciliation and growth. Həsənli’s subtle storytelling and nuanced portrayal of relationships earned praise for its emotional depth.

Shadows of the Past: Tərsinə Kölgələr

Hacı Səfərov’s directorial debut, Tərsinə Kölgələr, adapts Rahim Dünyamalı's novel Tərsinə Addımlayan Kölgələr. The film delves into the interplay between light and shadow as metaphors for humanity’s internal struggles. At its core, the story explores the fractured relationship between Hüseyn, a former prisoner, and his estranged wife, Gülşad. Their reunion after years apart unveils a tapestry of unspoken feelings, buried grievances, and unresolved trust issues.

Shot in the haunting confines of a cavernous set, the film’s visual aesthetic uses stark contrasts between light and shadow to symbolize hope and the indelible scars of the past. Səfərov masterfully employs shadow as a narrative device, suggesting that no matter how much one tries to escape, the past remains inescapably intertwined with the present. The film’s psychological depth and poetic imagery resonated deeply with viewers, though some found its abstract approach challenging.

Through a Child’s Eyes: Nərqız

Məsud Pənahi’s Nərqız marks a poignant return to filmmaking after 45 years, offering a heartfelt animated tale rooted in the turbulent history of Karabakh. Aimed at younger audiences, the film chronicles the life of a young girl, Nərqız, who is forced to flee her home with her family during wartime. Years later, she returns to a liberated Karabakh, revisiting the fragments of a childhood abruptly stolen by conflict.

The animation captures the emotional resonance of memory, with even the smallest details imbued with a sense of belonging. Pənahi’s work bridges generations, serving as both an educational tool for children and a poignant reminder for adults of resilience amid adversity.

Reactions and Reflections

A wave of debates swept through social media following the release of two new animated films, reigniting long-standing concerns about the thematic direction and cultural identity of Azerbaijani cinema. Critics and cultural figures turned to online platforms to voice their disappointment, shedding light on what many view as a decline in the standards of the country's animation industry.

Renowned author Mirmehdi Agaoglu was among the first to spark the discussion by posting a thought-provoking message on Telegram. In his post, Agaoglu lamented the "narrow thematic focus" of recent productions, describing them as lacking the creativity and sophistication necessary to compete on the global stage.

Writer Ilham Aziz joined the conversation, sharing a similar critical perspective on Facebook. Aziz highlighted what he called an excessive reliance on patriotic themes, which, while important, often come at the expense of artistic innovation. According to Aziz, some industry figures advocate for developing animation within the framework of "exuberant patriotism" while simultaneously discouraging the inclusion of Western influences. This approach, Aziz and others argue, not only restricts creative expression but also isolates Azerbaijani cinema from broader cultural dialogues.