New Views on Azerbaijani Cinema in the Modern World

A new wave of Azerbaijani cinema is emerging, with local filmmakers exploring the complexities of modern life, war, and family through fresh perspectives. On October 22, the Union of Cinematographers of Azerbaijan hosted a special event, "New Generation, New Breath, New Look," at the Nizami Cinema Center. This musical film event showcased the work of four directors—Azer Guliyev, Daniel Guliyev, Teymur Gambarov, and Novruz Hikmet—each bringing unique narratives to the screen, with three of the films reflecting the continuing impact of war on the national psyche.

Among the most anticipated screenings was The Red Color of the Second Planet by Azer Guliyev, a 13-minute exploration of a man named Musa and his journey toward self-discovery amid the backdrop of conflict. The film weaves together Musa's past and future, using red as a symbolic motif for suffering, resilience, and eventual freedom. The choice of color as a thematic tool captivated the audience, drawing attention to how abstract imagery can enhance emotional depth.

Daniel Guliyev’s Far Away presented a stark contrast in theme. This 20-minute drama centered on family dynamics, particularly the relationship between two brothers with starkly different personalities. Set in a household devoid of the war’s presence, the film offered an intimate look at brotherly bonds, capturing both the tensions and the shared connections that tie them together. As the film unfolds, viewers are drawn into a subtle emotional narrative that emphasizes the quiet struggles of family life.

Novruz Hikmet’s It's Quiet Here, co-directed with Olena Podolianko, delves into the psychological impact of war on a young couple. Set in a hotel near the border, the 15-minute film captures the couple’s attempts to avoid discussing the war, only for their differences on the issue to lead to confrontation. The tension between the personal and the political is a theme that resonates deeply in contemporary Azerbaijani cinema, as the scars of conflict continue to shape relationships and identity.

Teymur Gambarov’s Two Days portrays the life of a small family in Baku as they grapple with the sudden disappearance of the father. The film focuses on 22-year-old Fira, who tries to keep her family together in the face of uncertainty. Gambarov, who later discovered that the plot mirrored a personal event in his own family, uses the film to explore themes of absence and resilience, making it a deeply personal work.

The event was well-attended by local artists and cinephiles, sparking a lively discussion between the audience and the filmmakers after the screenings. The open dialogue allowed the directors to share their creative processes and the ideas that sparked their films, offering an insight into the burgeoning film community in Azerbaijan. Despite international recognition, many of these young filmmakers are still relatively unknown to domestic audiences, a gap that events like these aim to close.

Such initiatives are pivotal for the growth of Azerbaijan’s film industry. Not only do they provide a platform for local directors to showcase their work, but they also foster a deeper connection between filmmakers and the public. For many, the chance to interact with directors whose films have been celebrated abroad offers a glimpse into the future of Azerbaijani cinema—one where local voices are increasingly heard and appreciated on the global stage.