Kazakhstan’s Film Industry Thrives with Domestic Hits at Box Office
Kazakhstan’s Film Industry Surges with Domestic Productions Driving Growth
ASTANA — Kazakhstan’s film industry is experiencing remarkable growth, with domestic productions driving a 30% surge in box office revenue in 2024. Once overshadowed by foreign films, local cinema now attracts private investors, state initiatives, and international collaborations, bringing a new era to the nation’s entertainment landscape.
According to Alexander Aksyutits, Top Pro Cinema CEO, in 2024, box office earnings surpassed 22 billion tenge (US$43.7 million), marking a 30% increase from the previous year.
“If you look at last year’s top 20 highest-grossing films, 70% were domestically produced. Just a few years ago, foreign films dominated our box office profits. This shift is drawing increased interest from private investors and, just as importantly, driving positive changes in the state financing of film production,” said Aksyutits at a government meeting on March 18.
Cinematic legacy from Soviet studios to modern productions
Kazakhstan’s film industry dates back to the early 20th century. The establishment of the Alma-Ata newsreel studio in 1934 marked the first organized effort to produce films in the country. One of the earliest milestones, “Amangeldy” (1938), directed by Moisey Levin and starring Yelubai Umurzakov, depicted the life of civil war hero Amangely Imanov.
During World War II, Kazakhstan played a crucial role in Soviet cinema when major studios, including Mosfilm and Lenfilm, were relocated to Almaty. Between 1941 and 1944, the city produced 80% of all Soviet films. In 1960, the Almaty-based studio was renamed Kazakhfilm, with renowned director and actor Shaken Aimanov playing a key role in its development.
Following Kazakhstan’s independence, the film industry struggled due to economic instability. However, by 2005, the landscape of Kazakh cinema had shifted with the release of “Nomad,” the country’s first major action blockbuster. This era saw a renewed focus on historical epics such as “Mongol” (2007) and “Myn Bala” (2011) and an expansion into contemporary storytelling.
International collaborations and expanding global reach
Kazakhstan’s presence in the global film industry is growing, with several projects involving Hollywood professionals. At a March 18 government meeting, Salem Entertainment CEO Igor Tsai highlighted the company’s partnerships with major international figures.
“This year, we launched co-productions with Jackie Chan, Oscar-winning American producers, and a unique project with Timur Bekmambetov that integrates artificial intelligence technologies in content creation,” said Tsai, whose company specializes in content creation and distribution.
He also noted that Salem Entertainment has secured 700,000 paid subscribers through partnerships with Kazakhtelecom and the TV+ brand.
Kazakhstan’s television industry is also gaining international traction, with series exported to Russia, Germany, Ireland, Türkiye, South Korea, and the United Kingdom.
“Streaming platforms, both domestic and international, have fueled rapid growth in the industry. Today, we are producing hundreds of series annually, and many are receiving millions of views online,” said Aksyutits.
In the past two years, Kazakh broadcasters Khabar and Qazaqstan have sold more than 30 series internationally, while German media giant ZDF has shown interest in distributing Kazakh content worldwide.
Digitization for transparency in film financing
Despite rapid expansion, challenges remain in financing and production efficiency. Kazakhstan’s Ministry of Digital Development, Innovation and Aerospace Industry is implementing new digital tools to improve transparency and accountability in government funding.
Minister Zhaslan Madiyev reported that the government allocated 19 billion tenge (US$37.7 million) between 2019 and 2023 to support 98 domestic film projects. However, only 23 films made it to theaters, collectively earning 1.5 billion tenge (US$2.98 million).
“This highlights inefficiencies in budget allocation. Digital systems will ensure better oversight and effectiveness of public funds,” said Madiyev.
Minister of Culture and Information Aida Balayeva announced the development of e-Kino, a national film monitoring system to increase financial transparency and ensure fair distribution of box office revenues.
The e-Kino system, designed to automate processes and integrate artificial intelligence and big data, aims to streamline government funding, eliminate bureaucratic delays and enhance financial transparency.
“E-Kino collects real-time data from cinema ticketing systems, providing insights into box office earnings, audience numbers by screening and region, ticket sales, and film performance by genre, language, and country of origin,” said Balayeva.
Currently in its pilot phase, e-Kino is connected to 68 of the country’s 103 cinemas, tracking 30.4 million tenge (US$60,340) in box office revenue and 20,310 tickets. The system is undergoing cybersecurity testing before full-scale implementation.
