Title
Hélène LARIONOVA HAUG
Director, Eurasian Film Market
Overview
Growth, Challenges and Global Ambitions in 2025
Kazakhstan’s film industry is steadily recovering from the pandemic and demonstrating dynamic growth. In 2024, cinema attendance reached a record 23 million viewers (+11%), while box office revenues totaled approximately 43.9 billion tenge (~$84 million). Of this amount, 17.8 billion tenge came from domestic films, marking a 19.3% increase compared to the previous year.
Among the most notable film projects of the past year is the drama Dastur, which grossed over 1 billion tenge at the box office, surpassing several Hollywood blockbusters.
In the first half of 2025, key development priorities have been market reforms and digitalisation. The Ministry of Culture is rolling out the e-Kino platform — an electronic system designed to monitor box office revenues and ensure greater transparency in film financing.
“The e-Kino information system has been developed to automate processes, remove bureaucratic barriers, and minimise subjectivity in decision-making through the use of AI and Big Data. Integration with ticketing services is expected to eliminate the shadow market, while a broader digital ecosystem — including streaming platforms and crowdfunding — will open up new financial opportunities, ensuring transparency and sustainable growth of the film industry”, noted Zhaslan Madiev, Minister of Digital Development, Innovation and Aerospace Industry.
Overall, industry stakeholders remain optimistic: audience interest is growing, both private and public capital is becoming more active, and modern infrastructure is taking shape. Stable domestic demand, government support, the rise of platforms, and increased activity from private investors are laying the foundations for positive momentum in sector development. Nevertheless, challenges remain — notably the need to strengthen studios, modernise infrastructure, and ensure sustainable distribution.
Top 10 Overall Boxoffice (H1 2025)
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| No | English title | Director | Country | Genre | Gross (local currency) |
Gross (USD) |
Production Company | Distribution Company |
|---|---|---|---|---|---|---|---|---|
| 1 | Patrul’. Posledniy prikaz | OMAROV Rustem | Kazakhstan | Comedy | 1,472,354,630 | 2,736,718 | Salem Entertainment | Sulpak Cinema |
| 2 | Molda | SHAISLAMULY Abdusaid | Kazakhstan | Comedy | 1,380,918,190 | 2,566,762 | Baiterek Production | Meloman |
| 3 | Lilo & Stitch | Dean FLEISCHER CAMP | USA, Australia, Canada | Fantasy, comedy, family | 1,122,015,021 | 2,085,529 | Walt Disney | Meloman |
| 4 | Reketir 3 | SATAYEV Akan | Kazakhstan | Criminal, drama | 933,452,100 | 1,735,041 | Tiger Films | Sulpak Cinema |
| 5 | Mufasa: The Lion King | Barry JENKINS | USA, Canada | Animation, family, adventure | 918,961,071 | 1,708,106 | Walt Disney | Meloman |
| 6 | Seven flowers (Zheti gul) | KARIPOV Darhan | Kazakhstan | Comedy | 851,712,200 | 1,583,108 | Baiterek Production | Meloman |
| 7 | A Minecraft Movie | Jared HESS | Sweden, USA, New Zealand, Canada | Fantasy, comedy, adventure,action | 774,927,502 | 1,440,386 | Warner Bros. Pictures | Sulpak Cinema |
| 8 | How To Train Your Dragon | Dean DEBLOIS | UK, USA | Animation, family, comedy | 686,273,071 | 1,275,600 | Dreamworks Pictures, UniversalPictures | Meloman |
| 9 | Malai | NURGALIYEV Erlan | Kazakhstan | Comedy | 606,262,020 | 1,126,881 | 1On | Unico Rights |
| 10 | Bisharashki in Thailand | KADER Bakyt | Kazakhstan | Comedy | 590,550,620 | 1,097,677 | Tiger Films | Sulpak Cinema |
Top 10 Domestic Boxoffice (H1 2025)
You can scroll left and right to view the content.
| No | English title | Director | Country | Genre | Gross (local currency) |
Gross (USD) |
Production Company | Distribution Company |
|---|---|---|---|---|---|---|---|---|
| 1 | Patrul’. Posledniy prikaz | OMAROV Rustem | Kazakhstan | Comedy | 1,472,354,630 | 2,736,718 | Salem Entertainment | Sulpak Cinema |
| 2 | Molda | SHAISLAMULY Abdusaid | Kazakhstan | Comedy | 1,380,918,190 | 2,566,762 | Baiterek Production | Meloman |
| 3 | Reketir 3 | SATAYEV Akan | Kazakhstan | Criminal, drama | 933,452,100 | 1,735,041 | Tiger Films | Sulpak Cinema |
| 4 | Seven flowers (Zheti gul) | KARIPOV Darhan | Kazakhstan | Comedy | 851,712,200 | 1,583,108 | Baiterek Production | Meloman |
| 5 | Malai | NURGALIYEV Erlan | Kazakhstan | Comedy | 606,262,020 | 1,126,881 | 1On | Unico Rights |
| 6 | Bisharashki in Thailand | KADER Bakyt | Kazakhstan | Comedy | 590,550,620 | 1,097,677 | Tiger Films | Sulpak Cinema |
| 7 | Qazaq alemi | ABULHAIROV Asar | Kazakhstan | Comedy | 577,374,280 | 1,073,186 | Kazakfilm | Kazakhfilm |
| 8 | Bolmagan balalykshak | SAHAMAN Aidyn | Kazakhstan | Drama | 551,658,920 | 1,025,388 | Rating Kino | Sulpak Cinema |
| 9 | Gap | MATZHANOV Anvar | Kazakhstan | Comedy | 527,403,650 | 980,304 | KAZ Film Studios | Sulpak Cinema |
| 10 | Aramyzda Stambul | ERKENULY Nurzhan | Kazakhstan | Comedy, melodrama | 417,050,621 | 775,187 | Sataifilm | Meloman |
Production Landscape
In 2024, the Kazakh film industry produced 514 films, 127 more than in 2023. The breakdown includes 175 feature films, 215 documentaries, 83 animated films, and 41 newsreel-style chronicles. Feature-length films accounted for 18% of this output, with the rest being short films.
The leaders in terms of annual film production are the Kazakhfilm studio and the private company Tiger Films. Kazakhfilm (named after Shaken Aimanov) is the largest studio in the country and a symbol of national cinema. Private production companies are also developing actively.
Kazakhstani directors are not only producing more films but also attracting a wider audience. Out of the 20 highest-grossing films of the year, 70% were domestic productions.
The language dynamics are indicative. The share of Kazakh-language projects in the 2025 selection reached 75%.
Animation is reaching a strategic level. The national studio Kazakhanimation is moving to Astana and becoming the anchor of a new creative cluster. Animators and screenwriters are being recruited. Accelerators have been launched for novice teams. A special feature is the focus on export: cartoons are produced in two languages, adapted to international formats, and offer storylines based on Turkic mythology and Kazakh folklore.
International participation is increasing. Kazakhstan has joined the Central Asia Film Network project, participated in 97 foreign screenings in 2024, and is in talks with the European Cinema Fund and Southeast Asia. Agreements have been signed with France, Hungary, and Uzbekistan. Discussions are underway to create a regional co-production fund for Central Asia.
Financing Models
In Kazakhstan, film production benefits from government support. Each year, the Ministry of Culture allocates a budget for filmmaking, which is distributed based on project pitches organised by the State Centre for Support of National Cinema.
Over the past three years, the film industry has undergone institutional transformation. The legal framework has been strengthened, a market for services and distribution has been formed, and new financing procedures have been developed. Instead of behind-the-scenes decisions, there are open pitching sessions. Instead of automatic support according to quotas, there is a sectional selection principle with separate expertise in different areas. The subsidy regime has been replaced by a regime of contractual obligations: the state provides funds, but requires results, transparency, and the return of a portion of the investment in the event of commercial success.
In May 2025, the Ministry of Culture and Information summed up the results of the first stage of the competitive selection of projects for state support in the field of cinematography. Out of 444 applications, 357 were admitted, 128 passed to the pitching stage, and 99 reached the on-site defense.
In addition, state support has shifted to a new format of competitive selection and contract-based financing, enhancing transparency and accountability on the part of producers. The Film Support Center has strengthened control. A system of phased financing has been introduced. Money is not given out in full, but is transferred in accordance with the production schedule. If filming has not started on time, the contract is terminated.
In June 2025, Kazakhstan launched its first venture fund in the film industry — the Tolqyn Film Fund, backed by Frame Capital through Dasco Capital. The fund plans to invest in 15–20 projects, including international co-productions.
In addition, a Creative Industry Development Fund is being established to support talent, infrastructure, and exports, including the development of a venture capital track within the AIFC framework.
International participation is increasing. Kazakhstan has joined the Central Asia Film Network project, participated in 97 foreign screenings in 2024, and is in talks with the European Cinema Fund and Southeast Asia. Agreements have been signed with France, Hungary, and Uzbekistan. Discussions are underway to create a regional co-production fund for Central Asia.
Kazakhstan operates a government-backed tax incentive program for film production under the Law “On Cinema.” Under this scheme, both domestic and foreign producers implementing projects in the country are eligible for a 30% tax rebate on qualified production expenses. However, the process for submitting documentation and receiving the actual reimbursement remains complex.
Distribution Climate
In 2024, the distribution of Kazakh films was dominated by two key players: Sulpak Cinema and Meloman (now Ascar Cinema). Both companies represent major Hollywood studios, including Walt Disney, Sony Pictures, Warner Bros., and Universal, and together accounted for over 92% of total box office revenues, highlighting the high concentration of distribution within the national market. Independent and niche distributors maintain a limited presence, despite occasional successful releases.
Box office breakdown for 2024 shows that films produced in the U.S. and Kazakhstan generated 88.6% of total revenue, yet represented only 48.8% of all releases. Notably, nearly 45% of films imported from Russia, Europe, and Asia contributed a mere 5.9% of total annual box office, indicating limited commercial impact.
Hollywood releases are typically distributed through local partners under agency agreements with international studios rather than exclusively through state channels. The regulatory framework, defined by the Law on Cinematography, provides support and subsidies for production but imposes no direct restrictions on the screening of Hollywood blockbusters.
The distribution market in Kazakhstan is a mix of state-linked entities—most prominently Kazakhfilm, which is expanding its own distribution capabilities—independent local distributors, and several companies managing foreign rights. Major cinema chains, including Kinopark, Chaplin, Arman, Cinemax, and Illusion, form the backbone of the exhibition ecosystem and determine screening schedules.
This structure underscores a highly concentrated distribution landscape where a few major players dominate revenue, while smaller distributors and niche films occupy a marginal share of the market.
Patrul’. Posledniy prikaz © Salem Entertainment
Theatrical Reach
Kazakhstan currently has 113 cinemas, with the largest concentrations in major cities: Almaty (22), Astana (11), and Shymkent (7). These cities also led in audience numbers, with Almaty recording 7.8 million visits, Astana 4 million, and Shymkent 1.9 million.
Regional disparities in cinema infrastructure persist across Kazakhstan. Karaganda and Semey each have 5 cinemas with 11 and 12 screens respectively. Aktau has 4 cinemas with 13 screens, while Uralsk and Kostanay each have 3 cinemas with 11 screens. Petropavlovsk and Pavlodar also feature 3 cinemas with 12 screens each. In 9 other cities, there are 2 cinemas per city: Aktobe (7 and 1 screen), Zhanaozen (2 and 1 screen), Kyzylorda (8 and 3 screens), Satpaev (1 and 1 screen), Taldykorgan (4 and 4 screens), Taraz (7 and 1 screen), Turkestan (6 and 4 screens), Ust-Kamenogorsk (8 and 7 screens), and Ekibastuz (4 and 2 screens). In the remaining 23 towns and settlements, cinemas typically have 1–2 screens, totaling 32 screens. Overall, residents of 43 cities and towns, with a combined population of approximately 10.4 million people, have access to modern cinema facilities.
In 2024, Kazakhstan’s theatrical market showed significant growth across all key indicators:
- Total films released: 487 titles.
- Box office revenue: 47,768,933,776 KZT (~ $89 million) including carry-over New Year releases: 55,604,794,463 KZT (~$103 million).
- Total cinema attendance: 26,694,848 viewers, increasing to 31,076,971 tickets sold with carry-over releases.
- Average ticket price: 1,789 KZT (~$3).
For the first eight months of 2025, the total box office for 51 domestic feature films reached 13.1 billion KZT (~$22.5 million). Based on current trends, distributors anticipate that by year-end, this figure will exceed 25 billion KZT, representing a growth of more than 20% compared to the previous year.
Data from the Rentrak reporting system confirms that audience genre preferences remain stable: comedies continue to dominate, occupying seven of the top 10 highest-grossing films of the year. However, this year also brought a surprise: for the first time, a crime drama entered the top three, indicating a growing diversity in audience demand.
Technology and Production Services
By early 2025, the technology and production services sector in Kazakhstan’s film industry is playing an increasingly significant—albeit still developing—role. Government policy and a surge of private initiatives are focusing on digitalised monitoring, transparency in financing, and post-production development, enhancing the commercial resilience of the industry.
The current ecosystem includes traditional production studios such as Kazakhfilm, a growing post-production and VFX sector (local teams and emerging CGI studios), as well as animation labs—both state-supported and independent—benefiting from government subsidies for Kazakh-language animation. Notable players include Kazakhfilm as an infrastructure hub, alongside several emerging post-production and VFX studios.
Local CGI/VFX teams and post-production services stand out, complemented by Kazakhfilm’s in-house units working on restoration and animation. International service providers are engaged for large-scale projects, while the number of startups and service providers focusing on production planning and distribution is increasing.
AI integration is progressing gradually: pilot solutions for box office monitoring (e-Kino), planning automation, and specific VFX tasks are already being tested. However, large-scale deployment of generative VFX or fully automated dubbing has not yet been achieved. Further breakthroughs will require targeted investment in skilled personnel, equipment, and purpose-built production facilities.
Streaming Platforms and Digital Growth
In Kazakhstan, the OTT ecosystem is dominated by mixed-origin platforms: local services, primarily Megogo and operator-based platforms such as TV+ from Kazakhtelecom, compete with global players. International SVOD brands like Netflix are expanding their presence through local productions and co-productions, while Disney+ remains unavailable for direct distribution in the country as of 2025. Local platforms maintain a significant audience share thanks to content in Kazakh and Russian and flexible subscription plans.
Among influential new entrants are Freedom Media, Uni-Q Group, and their subsidiary streaming platform, Unico Play.
Uni-Q Group’s media holding comprises: Unico Play – a local streaming service planning to release up to four new Kazakh films and series annually; Unico Studio – a production company creating original content reflecting local cultural preferences; Unico Rights – a distribution arm focused on exporting Kazakh content and dubbing foreign projects.
Freedom Holding Corp., a Nasdaq-listed company, launched Freedom Media with the ambitious goal of building a national content and infrastructure ecosystem to position Kazakhstan on the global cinema and streaming map. In 2024–2025, Freedom Media announced the upcoming launch of its streaming service with an extensive library of original and international content under the Freedom Holding SuperApp, investing over $50 million in production and infrastructure. Plans include feature films, series, documentaries, children’s and educational content, as well as animation.
H1 2025 trends:
- Launch of local streaming services Unico Play and the expansion of Freedom Media’s SuperApp;
- Extensive localization with Kazakh-language content and dubbed releases;
- Rising competition between large financial-media conglomerates and regional OTT platforms.
Interview Ⅰ
with Ruslan Akun, Director of Heaven Is Beneath Mother’s Feet
Ruslan Akun is a filmmaker from Kyrgyzstan, screenwriter, and producer. His films address significant social issues. Among his most notable works are Salam, New York (2013), Herding (2014), the anthology Bishkek, I Love You! (2011), and Kök Börü: Game of the Tough (2018). In 2024, Akun released the drama Heaven Is Beneath Mother’s Feet which received recognition both nationally and internationally. Ruslan is considered one of the leading directors of his generation in Kyrgyzstan.
Q. How would you assess the level of film production in Kyrgyzstan this year?
A.The level of film production in Kyrgyzstan is quite high, as Kyrgyz films are now being released in neighbouring countries, including across the CIS, and are achieving strong box office results. Last year, Kyrgyz films accounted for 56% of the local box office, and I expect this share to continue growing.
Q. How would you assess the distribution market?
A.Distribution for Kyrgyz films is still underdeveloped, whereas the distribution of foreign films works very well. Despite Kyrgyzstan being a relatively small market, all major international releases are available here. The country is becoming a nation of cinema-goers, and going to the movies is becoming one of the main leisure activities.
Q. How do you think the rise of streaming platforms affects the market?
A.The future belongs to streaming platforms. I myself launched the online cinema AZO, which will eventually become a full-fledged streaming service. The production of original projects is increasing. Last year, we completed three projects and saw strong demand from Kyrgyz audiences, so this year we plan to produce many more. There are alternative streaming platforms in Kyrgyzstan, but their content currently attracts less interest from local viewers.
Q. Are there any obstacles or challenges in the film industry that you would like to see changed?
A.The main issue is the lack of cinemas across the country. Most cinemas are located in major cities like Bishkek and Osh. In the regions, there are very few cinemas, despite high demand, so this is an area that needs development.
Q. On the other hand, are new opportunities opening up with the market’s growth? If so, which ones?
A.Opportunities are emerging for films to be distributed abroad without barriers. For example, our film Heaven Is Beneath Mother’s Feet was released in Malaysia, Indonesia, Turkey, Azerbaijan, and other countries where Central Asian cinema is rarely shown, achieving good box office results. There is clearly a global trend of interest in local stories and the lives and cultures of other countries.
Q. Any interesting facts about film production in Kyrgyzstan?
A.Kyrgyzstan offers a wide variety of landscapes that are easily accessible and close together—martian-like terrains, walnut forests, green fields, and more. At the same time, it remains an affordable country for film production. The government provides significant support for foreign film projects, not financially, but through infrastructure, which reduces the production burden on budgets.
Interview Ⅱ
with Anna Chakirtova, Producer at Taurus Asia Production
Anna Chakirtova is a film producer from Kazakhstan with over 25 years of experience in the film industry. In 2021, she founded the production company Taurus Asia Production, which is now actively producing films and series. Anna also runs a talent agency that discovers new actors and directors, supports the launch of their projects, and provides active guidance to emerging filmmakers. Her filmography includes more than 17 films and 17 television series.
Q. How do you assess the level of film production in Kazakhstan this year?
A.It is worth noting that a diverse range of films of different genres is being produced, which has attracted audience interest. For example, the children’s film Baydan Balasy, released during school holidays, achieved strong box office results, whereas children’s films were less popular in 2023–2024. Another important development is the emergence of multiple funding sources, including both state support and private investors. Many films are now being made by young independent directors who create fresh, engaging content on modest budgets, giving the industry a revitalised and youthful energy. There has also been a noticeable increase in women directors producing not only auteur films but also art-mainstream projects.
Q. How do you assess the distribution market?
A.Given that local films are generating strong box office numbers, private investors have increasingly entered the industry, recognising the commercial potential of film production. Most films are produced in Kazakh, which reflects a growing trend: audiences are seeking authentic stories and are willing to watch them in any language. The country’s largest cinema chain, Kinopark, has begun actively supporting local projects by waiving marketing fees. Overall, the distribution market is stable, with no major shifts among distributors.
Q. How do you see the impact of streaming platforms on the market?
A.The emergence of local streaming platforms has opened additional distribution opportunities for Kazakh films. Platforms are acquiring local films, hosting them on their services, and managing rights for international sales and festival promotion. Their strategy and focus on local content significantly improve the efficiency and reach of film distribution.
Q. Are there any obstacles or challenges in the film sector that you would like to see addressed?
A.There is a need to refine the national cinema law and introduce tax incentives for creative industry participants, including filmmakers. Improvements in the tax code are expected. Establishing and operationalising film commissions to attract foreign investment, along with an effective tax rebate system, is also essential. Developing alternative state-run cinemas could further expand distribution opportunities for Kazakh films. Education remains a key priority: in addition to standard film schools, cinema labs are emerging that bring in mentors and support young directors in launching projects.
Q. Interesting facts about film production in Kazakhstan?
A.Kazakhstan is increasingly attracting foreign filmmakers, drawn by the country’s diverse locations. Co-productions are on the rise, particularly with partners from India, China, Korea, and Turkey, among others.
Hélène LARIONOVA HAUG
Director, Eurasian Film Market
Helene has over 20 years of experience in the film industry and related creative industries with a focus on developing international cooperation. Helene is a member of NETPAC (Network for the Promotion of Asia Pacific Cinema) and National Academy of Motion Picture Arts and Sciences of the Republic of Kazakhstan. She is also an Advisor in the field of the film industry in the Alliance of Creative Industries of Kazakhstan. Since 2022 Helene is the CEO of the major film market in Central Asia - Eurasian Film Market.