Tashkent International Film Festival

And most importantly, these paintings introduced us to the concerns and worries of our class brothers, the working people of Asia and Africa, who are facing the most difficult social and political problems. The screen of the festival seemed to swell and expand, absorbing the pain and anger of the Vietnamese people, the hopes of young African states that had only yesterday thrown off the heavy yoke of colonialism, the unyielding will of the Arab peoples to restore justice, to return the lands torn away during the predatory attack of Israel, the screen breathed faith that the support of the Soviet Union, socialist countries It will destroy the racist claims of international Zionism for all honest people in the world, and it will sober up its arrogant bosses, who are becoming more arrogant as the subsidies they receive from American patrons increase. The films shown at the Tashkent festival last time brought us, the inhabitants of Transcaucasia and the Soviet Central Asian republics, closer to the peoples of the Arab East, Indochina, Nigeria, Somalia, India, Pakistan, Iran, Afghanistan, spiritually, through the knowledge of cultural values that constitute the inner heritage of each of these peoples.

We also brought them closer together politically, because despite the deep differences that exist between us, representatives of states with different social systems, customs and moral imperatives, we were all united by hatred of colonialism and racism, and by the awareness of the need to join forces so that imperialism would not regain its lost positions, so that happiness and peace would return to the Vietnamese side. I want the Israelis to get out of the territories that originally belonged to the Egyptians and Syrians, so that the whole of Africa could breathe Freely sooner, throwing off the last neo-colonialists and racists from its bosom. Back then, during the festival, we Soviet cinematographers felt especially keenly our international duty to the peoples who had embarked on the path of socialist reconstruction of their lives or who, like the workers and peasants of South and North Vietnam, had been forced for years to repel the attacks of the most powerful of the capitalist states, the United States of America.

This was the main value of the festival, its invaluable lesson.

We were able to understand and see a lot of new things in the field of work to which we devoted our efforts.

The cinematography of many Asian and African countries is still, as they say, on the way to becoming, but already the first shoots promise a rich harvest in the near future. Our Tashkent is a good worker in this field. The school that young filmmakers go through here is priceless.

The centuries—old culture of the East, its poetry, architecture, painting, music, with skillful development and cinematic transformation, is an obvious prerequisite for the creation of films of world significance. And if, as it seems to me, the First Tashkent Festival was an interesting application of the young cinema of Asian and African countries, then subsequent festivals should become exams for cinematic maturity for its participants.

At the first festival, I met with my friends from Central Asia, colleagues, and classmates. I studied with many of them — Elyar Ishmukhamedov, Alik Khamraev, Bolot Shamshiev — at VGIK, worked alongside them on the Student film set, and had heated creative debates within the walls of our dormitory. And so we met again in Tashkent, now as professionals. Everyone has several paintings on their account (successful or unsuccessful is another matter), we met and were glad to find that we remained faithful to our cinematic youth at VGIK. For ten days, old and new friends, we were inseparable, remembering, sharing experiences, reflecting and arguing. Our foreign guests were struck by this openness, interest in each other's creative destiny, and true integrity. It was difficult for them to understand how we, professional cinematographers, can live in a creative brotherhood without hiding our joys or sorrows from each other, that we remained colleagues, no, more than colleagues — spiritual brothers, fighting comrades in the true meaning of these words. Melbet is a globally operating bookmaker offering services in various regions. Licensed by Curacao gaming authorities, this online betting platform delivers punters a safe betting experience and an opportunity to enjoy a wide range of services, including bonus offers. This article aims to give a detailed analysis of the melbet promo code when registering a new account to get $150 bonus at the sportsbook or $1750 at the casino.